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Starring in 
a Warner Brothers Picti 

f &t com&j&Htevffctt^ft, 

THE SILVERWARE SERVICE of the STARS. All the glamour isn't in 
Hollywood! Back east . . . up north . . . down south — up-and-coming young 
Americans are glamorizing their tables with the selfsame lovely silverware 
their favorite stars select. Your silverware dealer will show you that this is 
much, much easier than you'd believe ... for just think of it — services start 
at $19.95 and Planned Payments can make your choice — yours TODAY! 




106-PIECE SERVICE lor 13 


in the Miss America 

(All Prices include Federal Tax) 



neida Ltd. 


KV ,f KT 


BUT HEADS WILL TURN .. if your Smile is Right! 

There's magic in a lovely smile! 
Help yours to be sparkling — 
with Ipana and Massage. 

IOOK about you, plain girl! The most 
4 popular girl isn't always the pretti- 
est girl. It's true in the world of the 
stage and screen— it's true in your own 
small world. 

Heads do turn— eyes do follow— hearts 
do respond— to even the plainest face if 
it flashes a winning, glamorous, spar- 
kling smile. 

Make your smile your beauty talis- 

man. Keep it as enchanting as it should 
be. Help it to be a smile that wins for 
you the best that life has to give. But 
remember that, for a smile to keep its 
brightness and sparkle, gums must retain 
their healthy firmness. 

"Pink Tooth Brush" — a warning! 

If you ever see "pink" on your tooth 
brush— see your dentist right away. It may 
not mean serious trouble, but let him 
decide. He may say simply that your 
gums need more work . . . the natural ex- 
ercise denied them by today's soft foods. 

And like thousands of dentists, he may 
suggest "the helpful stimulation of 
Ipana and massage.'' 

Ipana is specially designed, not only 
to clean teeth brilliantly and thoroughly 
but, with massage, to help firm and 
strengthen your gums. 

Massage a little extra Ipana onto your 
gums every time you brush your teeth. 
Notice its clean, refreshing taste. And 
that invigorating "tang" tells you circu- 
lation is increasing in your gums— help- 
ing them to better health. Get a tube of 
Ipana Tooth Paste today. 


say beauty editors of 23 out of 24 leading magazines 

Recently a poll was made among the beauty editors of 24 
leading magazines. All but one of these experts said that a 
woman has no greater charm than a lovely, sparkling smile. 
They went on to say that "Even a plain girl can be charm- 
ing, if she has a lovely smile. But without one, the loveliest 
woman's beauty is dimmed and darkened." 



A Product of Bristol-Myers 

JANUARY, 1942 















Published in 
this space 
every month 

The greatest 

star of the 


Tis the month 
before Christmas 
and all through 
the movie houses 
there are a lot of 
wonderful films 
to be seen. 

• • • 
This column is in 
the present and 
future tense. Since it is a Christmas is- 
sue, we will first talk about the present. 

• • • • 
There is the Garbo picture. Of 
"Ninotchka" caliber — debonairy and 

JANUARY, 1942 

VOL. 20, NO. 2 

It is called "Two-Faced Woman" — 
practically a double feature in itself. 

• • • • 

And every single feature of Garbo is 
something to behold. Ask co-star 
Melvyn Douglas. 

• • • 
Comes too, "H. M. 
Pulham, Esq." — 
which so many have 
read. Hedy Lamarr 
and Robert Young 
step right from the 
pages as the saying 

• • • • 
"Panama Hattie", the famed Broadway 
trip-hammer of hilarity, gives us more 
Ann Sothern hospitality and Red Skel- 
ton's hornpipes of pandemonium. 

• • • • 
Spencer Tracy, the matinee and evening 
idol, and Katharine Hepburn, who also 
is no idle idol, appear in the picture of 
the year. 

M \ 

Entitled "Woman of The Year". 

• • • • 

And then also on this Yule season list, 
we're including "Babes on Broadway" 
which we deliver with all sorts of golden 
predictions of being something to dance 
in the streets about. 

• • • • 

That is, the dancing in the streets will 
be done after you've seen the dancing 
in the theatre. 

• • • • 
It's all to the 
merry, merry. 

• * * 
And at the same 
time let us wish you 
a happy, happy. 

— Scutta lea 

Advertisement for Metro-Goldwyn-Maver Picturta 


Executive Editor 

combined wttk 

ica n eh eh <x> LH 


Associate Editor 

Holiday Greetings 18 

Personal messages from the stars to you 

Resolutions the Stars Should Make Hedda Hopper 20 

Hollywood columnist tells Hollywood what to do. Result: Fireworks 

Flight Officer Olivier Reporting — 22 

An intimate letter from the London Oliviers to the Douglas Fairbankses Jr. 

— And They're Over There Too 24 

Last-minute news of other Hollywood stars in England 

"I Feel Like a Heel about Errol" 

Says Olivia de Havilland to Irene Zarat 26 

An inside look at Livvie's own ideas of that guy Flynn 

No Runaway Marriage for These Two! Kay Proctor 28 

Jackie Cooper and Bonita Granville have their own plans about weddings 

Love among the Reagans Ida Zeitlin 30 

A cheerful little earful about Ronnie and his two "Delinquent Girls" 

Strictly Zanies ... 33 

Make up your mind about Olsen and Johnson only after you've read this 

How Not to Trim Your Christmas Tree Fredda Dudley 34 

Laraine Day and Jeffrey Lynn ring some bells on Christmas presents 

Don't Hitch Your Wagon — John R. Franchey 36 

Throw out those old adages and go modern with Brian Donlevy 

Right This Way Folks! 38 

Star performers in the greatest show on earth caught by Cameraman Hyman Fink 

The Male Animal Fiction version by Norton Russell 40 

A story that will have everyone in the family chuckling out loud 

Things I Wish Men Would Do Joan Bennett 44 

Ida, the Mad Lupino Howard Sharpe 52 

I Wake Up Screaming! Steve Fisher 54 

These two men and the girl were playing the most fantastic game on earth 

Say Hello to Nicky Jr 56 

Introducing the newest branch on the "Thin Man" family tree 

The Truth About Stars' Salaries "Fearless" 57 


Natural Color Portraits of Charles Boyer 32 

These Popular Stars: 

d ±x n or Portraits: 

Bette Davis 25 

Olivia de Havilland 27 Philip Dorn 42 

The Ronald Reagans 30 Joan Fontaine 43 


Close Ups and Long Shots — Ring in the New 50 

Ruth Waterbury 4 Brief Reviews 58 

Speak for Yourself 6 Star Finds in the Stores 60 

Inside Stuff— Cal York 8 Ladies Invited 84 

The Shadow Stage 14 Casts of Current Pictures 85 

Hi, Miss Winter! 45 Candy Kid 86 

COVER: Barbara Stanwyck, Natural Color Photograph by Paul Hesse 
Miss Stanwyck's ski suit designed by Lanz of Los Angeles 

PHOTOPLAY combined with MOVIE MIRROR Is published monthly by I uhun PUBLICATIONS, INC.. Wash- 
ington and South Avenues, Dunellen. Now Jersey. Editorial offices. 12: East 4 2nd St.. New York N, . Y. Execu- 
tive office 205 E. 42nd St., New York. N. Y. O. J. Elder, President: li.tydo, k Miller, secretary; t harles H. Shattuck. 
Treasurer; Walter Hanlon. Advertising Manager. Advertising offices. 122 E. -12nd St., New York. N. Y. Chicago 
office 22 i North LaSalle St.. E. E. Lethen, .Ir.. Mgr. Pacific Coast office: San Francisco. 420 Market St.. Lee Andrews 
Mlt ' Entered as second-class matter September 2 1. 1931, at the post office in Dunellcn. New Jersey, under the 

, V . ,1 M.ncli :). 1H7H Vl.iitional entry at Chicago. III. Price in the United states and Possessions and Newfound- 
land SI 00 a year; price per copy. United States, U)c; Canada, loc. In Canada, tuba. Mexico. Haiti. Dominican 
KcDiihl'ic Spain" and possessions, and Central and South American countries, excepting British Honduras. British. 

Hitch and French Guiana. SI. 50 a year; in other countries IS.50 a rear. While Manuscripts. Photographs and 
wings are submitted at the owner's risk, every effort will Ik- made to return those found unavailable if aceom- 
n .riled %V suffice!. I Bret-class postage and explicit name and address. But we will not be responsible for any Joss of 
such in itter - contributed Con.r, outers are especially advised to be sure to retain copies of their contributions, 
otherwise they are taking an unnecessary risk. 

Member of Macfadden Women's Group. 

Copyright, 11*41, by Macfadden Publications. Inc. 

The contents ol this magazine may not be reprinted either .WhoUy^OrJta part without ^permission. Reelstro 

ts ol this magazine i not he reprinted eiinel wholly or in. part win .... •« ;^» 

N icional de la Propiedad Inteleclual. Title trademark registered In U.S. Patent Office. 
■ mted in U. S A, by ATI Coli ■ Printing Co.. Dunellen. N. J. 

photoplay combined U'itli movie mirror 


we give you 

as the high point 

of our February issue. 

Bright star of the fiction year, 
this is above all about a man 
and a girl in war, in escape, 
in love. 

In their lives you see the 
struggle of a new world — 
the deep moving passion they 
both try to deny . . . 

— the bitterness of the man 
who survived Dunkerque to 
say: "A man will die for his 
own freedom and never com- 
plain. But when his children 
ache with hunger, he'll swap 
it for a loaf of bread and call 
it a better bargain . . ." 

— the sublimity of the girl who 
faces the coming of her baby 
to say: "You're going to have 
a better time of it than we 
did. We're going to win this 
war because we can stick it. 
And then, God willing, we're 
going to win the peace — for 
you and the millions of others 
like you to come . . ." 

In Twentieth Century-Fox's 
greatest 1942 love story star- 
ring Tyrone Power and Joan 
Fontaine — 


Be Lovelier! So very Soon ! 
Go on the 


This lovely bride, Mrs. Alfred L. Powell of New ^ork, N. Y., says: "I'm so devoted to 
the Camay 'Mild-Soap' Diet ! I tell all my friends about this wonderful aid to loveliness." 

Start this exciting course in beauty 
care ! It's based on the advice of skin 
specialists-praised by lovely brides! 

WHISPERED praises in the moonlight 
—''Your skin is so lovely to look at. 
so delightful to touch". . . Every woman 
should hear these compliments. Do you? 

If not, then the Camay 
"Mild- Soap" Diet offers 
you a promise of new love- 
liness. For, unknowingly, 
you may be clouding the 
real beauty of your skin 
through improper cleans- 
ing. Or, like so many 

women failing to use a beauty soap as 
mild as it should be. 

Thousands of brides have found the 
key to loveliness in the Camay "Mild- 
Soap" Diet. One such bride is Mrs. 
Powell who says: "My skin has reacted so 
beautifully to the Camay 'Mild-Soap' Diet 
I'd never try any other beauty treatment!' 
Skin specialists advise 
regular cleansing with a 
fine mild soap. And Camay 
is milder than the 10 other 
famous beauty soaps test- 
ed. That's why we say "Co 
on the Camay 'Mild-Soap' 
Diet . . .TONIGHT!" 


Work Camay's milder lather overyour skin, pay- 
ing special attention to the nose, the ba6e of 
nostrils and chin. Rinse with warm water and 
follow with thirty seconds of cold splashings. 

Then, while yon sleep, the tinj pore openings are 

free to function for natural beauty. In the morn- 
ing— one more quick session with this unl.l.r 
Camay and your skin is ready for make-up. 

ANUARY. 1942 

Ca ro\e Lombard I * ^ 
•P^wHolty* 00 


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who* P r,ce 

s h film; 

j ponders 

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.e., made 

ut ho* 



i • busv *fcese da f 
UoWvvood «s » V ; r banks Jr. 

THE speed with which the pattern 
of Hollywood is changing becomes 
more apparent with every passing 
day, this winter of 1941 ... on "the 
projection room circuit" . . . that is, in 
the projection rooms in the private 
homes . . . the homes of the absolute 
top directors, of the really top stars, of 
almost every producer ... in those 
projection rooms where movies are 
seen days and weeks and sometimes 
months before the public sees them 
and where many a star is born and 
killed . . . there, the current conversa- 
tion is centering on John Ford ... on 
Douglas Fairbanks Jr .... on Betty 
Grable ... on what may happen to 
Alice Faye ... on the amazing case of 
Carole Lombard . . . and on the Bioff 
case . . . (everybody in Hollywood 
calls that one the Buy -off case, which 
was what it was supposed to be, only 
the "fix" didn't stick). . . . 

Ah, weird and wonderful is the talk 
that goes round and round in those 
projection rooms. . . . 

Since he has a hit ready and wait- 
ing, they talk first of John Ford, these 
nights . . . John Ford, who represents 
the spirit of artistic independence. . . . 
You know him, of course, this 
sturdy, unfettered Irishman whose 


cim in 

real name is Sean O'Fearna ... he 
who directed that most artistic of 
movies, "The Informer" . . . who a 
year ago made "The Long Voy- 
age Home" and a season before that 
"Stagecoach" . . . and who in between 
made slick movies for Twentieth Cen- 
tury, notably "Grapes Of Wrath". . . . 

Well, right now, Mr. Ford has fin- 
ished "How Green Was My Valley" 
and it is a miracle . . . because, up 
until now when Mr. Ford did a pic- 
ture at Twentieth, he washed his 
hands of it the moment he finished 
shooting . . . that is why a film like 
"Drums Along The Mohawk" could 
bear his name and yet emerge so un- 
distinguished. . . . 

For there is a rule, you see, at Twen- 
tieth Century that Darryl Zanuck, the 
studio head, can cut any picture any 
way he chooses . . . John Ford, the free 
man, wouldn't compromise ... he 
would direct a picture just as his con- 
tract specified . . . but when it came 
to cutting them . . . either he cut them 
all by his own ... or he had no part in 
the cutting of them . . . thus he cut 
none of his Twentieth Century pic- 
tures . . . but made them quickly and 
efficiently . . . then took his own 
money and went elsewhere to make 
the pictures he loved . . . and which he 
knew only a small audience would 
love, too. . . . 

Then along came the story, "How 
Green Was My Valley" . . . Twentieth 
bought it . . . John Ford was assigned 
to direct it . . . and he couldn't be 
quietly businesslike about such a tale 
... he had to put all his imagination 
and heart and Irish emotionalism into 



5tmTm»»« w 

the telling of it . . . the result is such 
a beautiful, poignant film as happens 
very, very rarely. . . . 

The projection room circuit sits 
back, wonders and marvels, at a story 
of Welsh mining life, done with a "B" 
cast turning out to look like a million 
dollars, and artistic yet. . . . 

Then they marvel over Douglas 
Fairbanks Jr. . . . who is ceasing to be 
"young Doug" to them any longer . . . 
or merely the son of his father ... or 
Joan Crawford's ex-husband ... or 
Mary Pickford's stepson . . . but a 
handsome, intelligent, deeply sincere 
young diplomatist working for our 
country . . . giving up chances at fine 
roles . . . giving up the income he 
would get from them . . . because he 
wants to serve America in the way 
that our President has told him is the 
most helpful way that he can serve. . . . 

Many of the inner circle Hollywood 
people have told Doug that they are 
proud of him for this . . . that they 
think he is doing a great thing not 
only for the United States but also 
for the movie business . . . proving 
through his own handsome person and 
through his clever brain that actors 
are people . . . that they are part of 
the average (Continued on page 65) 

photoplay combined With movie mirror 



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CfcS EVERYBODY DAN« * Y % „,, A 

of W E Otf 5 ^^oJ^HAT CHAN« 





Directed by IRVING CUMMINGS • Screen Play by Jerome Chodorov and Joseph Fields • Based on the Musical Comedy by Morrie Ryskind • From a Story by B. G. DeSylva 


JANUAPV, 1942 g 

A month ago the name 
Jean Wallace didn't 
mean much to Holly- 
wood; today it's being 
spoken everywhere in 
exclamation-point tones. 
She's the girl who eloped 
with Franchot Tone; here 
they are at the Mocambo 
just two nights before 
they pulled the quickie 

Left: These two always set 
flash bulbs popping; this 
Mocambo huddle of Paulette 
Goddard and Charles Chap- 
lin set tongues wagging. Rea- 
son: They haven't been seen 
many places together lately 



The current spice of Hollywood life 


TIDBITS: Hollywood is wondering 
it: Deanna Durbin will follow in 
her producer husband's footsteps 
and leave Universal Studios, which 
has been Deanna's studio home since 
the time of her first picture. After 
all, Universal didn't do so badly for 
Vaughn Paul, who just two years ago 
was an assistant director trying to get 
along. He is now a producer and no 
longer at Universal. Young Paul has 
signed with RKO. 

Friends applaud Alice Faye's deci- 


sion to leave the screen for a year 
until after her expected baby is born. 
Alice and Phil Harris were remarried 
in Texas last month, just to make the 
tie stronger. 

Connie Bennett is another prospec- 
tive mother and husband Gilbert Ro- 
land couldn't be happier. Connie has 
one son by a former husband, the 
late Phil Plant. 

Jeanette MacDonald and Gene Ray- 
mond have set the ball rolling with 
a brand-new idea for our Uncle 

Sammy's boys. They even have a 
name for their idea. They call it 
"Date Leave." Every other Sunday 
Gene and Jeanette telephone the 
U. S. O. in Los Angeles, who select 
ten or twelve boys from any branch 
of the service, herd them into the 
Raymond station wagon and send 
them off for the day to the Raymond 
home. In the meantime, the Deans of 
Women of the University of Southern 
California and the University of Cali- 
fornia at Los Angeles select an equal 

photoplay combined totth movie mirror 


Left: This picture x i 

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The implication of this h,: Li 
future is th a t Robert Stoc? 
having f un on n J i i . , ck ls 

T^ner Sheila p +fle l 0rd - La ' 1 o 
Havilland and AnCr '''^ de 
-essive nig^n feder. 

number of girls to be guests, with 
swimming, singing and much good 
eating the order of the day. 

The boys, who are subject to much 
regimentation in camp, are not urged 
to participate in any games they do 
not feel like playing. Everything is 
left up to the boys and girls. 

One or two of the lads have broken 
down and wept out their thanks, the 
loneliness and homesickness that have 
been dispelled by the kindness of the 

JANUARY, 1942 

Other Hollywood folk are following 
suit, welcoming boys into their homes, 
treating them to home-cooked food 
and, more important to the boys, 
making it possible for them to meet 
nice girls. And maybe you think the 
mothers of those boys aren't grateful! 

Get Out Your Copybook, Ginger: 
Ginger Rogers' face is almost as red 
as her hair these days. 

A few weeks ago Ginger went to 
Kansas City to visit relatives and 

while she was there she paid a visit 
to the Benton Grammar School where 
she learned readin', writin' and 'rith- 
metic. (Incidentally, Walt Disney 
went to the same school a couple of 
years before Ginger.) Of course, la 
Rogers' visit was a sensation and she 
autographed text books right and left. 
Imagine her surprise, then, to receive 
a letter from the principal after her 
return to Hollywood: 

"Dear Ginger: We loved having you 
here and we are proud of you. But 

JniAk otuff 

your handwriting is still terrible — and 
now all the youngsters are trying 
to copy it. So from now on, don't 
autograph any text books for us!" 

Lookie, Skyscraper Girls: There 
have been other tall girls in movies, 
but never one that has caught the 
attention of fans as has Alexis Smith. 
So, to meet the flood of letters from 
up-in-the-air fans, Alexis has organ- 
ized a Tall Girls' Club for girls over 
five-foot-seven throughout the coun- 
try. Letters are sent by Alexis to 
members with nuggets of pure-gold 

For instance, Alexis' suggestions in 
her first letter dealt with the problem 
of shorter escorts. Some of her tip- 
offs were: 

1. Always let him take your arm. 
Never take his. 

2. Wear small-crowned hats. 

3. Stand straight up. 

4. Don't gaze down at him while 
dancing. You can always keep your 
eyes closed and it's more flattering 
to him. 

5. Don't wear large-brimmed hats. 
It's hard enough for him to see around 
you without obstacles. 

Pretty good advice, eh, girls? If 
you're interested, why not write 
Alexis at Warner Brothers and get on 
her mailing list? And happy dating 
to you all. 

Col's Chitchat: We have Betty 
Grable's word for it, there is no feud 
between her and Carole Landis. "The 
fact I go to my dressing room between 
scenes on the set does not mean I am 
feuding with anyone. Nor does it 
mean I am high-hat. The whole thing 
is ridiculous." 

Maybe, but those two lovely 
blondes, Carole and Betty, are not 
the closest of friends, either. Take 
our word for it. 

Since her separation from Roger 
Pryor, Ann Sothern is the belle of 
the ball, with Cesar Romero, Ann, 
John Howard and Hedy Lamarr a 
happy quartette. Robert Sterling is 
a bidder for Ann's attention, too. 


This started something in Holly- 
wood: Jeanette MacDonald and 
Gene Raymond's "Date Leave" 
party for service men and co-eds 

Barn-dancing, cheek to cheek ver- 
sion: the George Murphys in old- 
fashioned gear and modern mood 
at the West Side Tennis Club 

Ham-and-corn close-up of Gary 
Cooper and Claudette Colbert 
in a back-to-the-farm movement 
at the Tennis Club barn dance 


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The premiere of "Sundown" was 
the occasion for the biggest party of 
the month. Joan Bennett acted as 
hostess, as husband producer Walter 
Wanger was called to New York on 
business at the last moment. Ciro's 
was jammed from roof to rafters, with 
practically everyone in Hollywood on 
hand. As usual, Marlene Dietrich cre- 
ated a riot in a mile-high (or so it 
seemed) hat dripping with ermine 
tails. More ermine tails and Jean 
Gabin dripped from the sides. 

Patricia Morison has an idea that's 
catching on like wildfire. It's called the 
"Invite a soldier for Christmas din- 
ner" movement and already Pat has 
twenty-seven boys lined up in twenty- 
seven homes for a Merry Christmas. 

Say It Right: Take Hedy Lamarr's 
name. It's Haydee, and not heady, 
please. And Charles' name is Boy- 
yay, which at least is close enough 
to the French pronunciation to make 
Monsieur Boyer happy. 

The handsome Nils Asther is Neels 
Astor and Nelson Eddy's new leading 
lady is Rees-ay Stevens, and not Rise 
as in Rise and Shine. 

There are three syllables to Diet- 
rich's first name. It's Mar-Lan-a, to 
rhyme with "I have a pain-a." Miss 
Turner's first name, on the other hand, 
is La-nah, to rhyme with Hannah. 

And as for Jean Gabin, the French 
actor, he's called everything from G 
to V. According to his studio, it's 
(Continued on page 12) 

photoplay combined icith movie mirror 

What to do when 

you feel a COLD 

coming on 

WHEN you start to sniffle . . . when you feel a chill ... or 
get a dry, rasping irritation in your throat, it's time to 
act — and act fast! A cold may be getting you in its grip. What can 
you do to ward it off? 

Unfortunately, in spite of all the time and money spent on 
studying the condition, there is no known positive specific. 
Certainly, we would not classify Listerine Antiseptic as one. 
Yet tests made during ten years of intensive research have con- 
vinced us that this safe, pleasant-tasting germicide often has a 
very marked effect. 

Over and over again these tests have shown that those who 
gargled Listerine Antiseptic twice daily had fewer colds, milder 
colds, and colds of shorter duration than those who did not. 

Kills Germs Associated with Colds 

The reason for this success, we believe, must be that Listerine 
Antiseptic kills vast numbers of germs on mouth and throat 
surfaces ... so called "secondary invaders" which, according 
to many authorities, are largely responsible for the distressing 
manifestations of a cold. Listerine Antiseptic kills these germs 
by the millions, before they can invade the delicate membrane 
and aggravate infection. 

Tests Showed Outstanding Germ Reductions on Tissue Surfaces 

Clinical "bacteria counts" showed germ reductions on mouth 
and throat surfaces ranging to 96.7% even 15 minutes after 
gargling with Listerine Antiseptic ... up to 80% an hour after 
the gargle. 

Isn't it sensible, then, to use Listerine Antiseptic promptly 
and often to help combat a sore throat and keep a cold from 
becoming troublesome ? 

We do not pretend to say that Listerine Antiseptic so used 
will always head off a cold or reduce its seventy once started. 
But we do say that it has had such a fine record in so many test 
cases that it is entitled to consideration as a reputable first aid. 

Get the habit of gargling with full strength Listerine Anti- 
septic morning and night; and if you feel a cold coming on, 
increase the frequency of the gargle and call your physician. 

Lambert Pharmacal Company, St. Louis, Mo. 



Go to bed at once, take a mild laxative if your doctor ad- 
vises it. Drink plenty of water and fruit juices. Fat lightly. 

2 Gargle with Listerine Antiseptic, full strength, every 
three hours. Listerine kills millions of germs on mouth 
and throat surfaces before they can invade the delicate 
membrane and aggravate infection. 


The two drawings illustrate height 
of range in germ reductions on 
mouth and throat surfaces in test 
cases before and after gargling 
Listerine Antiseptic. Fifteen min- 
utes after gargling, germ reduc- 
tions up to 96.7% were noted; and 
even one hour after, germs were 
still reduced as much as 80%. 

3 At night, take a hot 
bath, or at least a hot 
foot bath, before getting into 
bed. Cover up with plenty 
of extra blankets to "sweat 
the cold out of your system." 

4 Don't blow your nose 
too hard. It may spread 
infection to other parts of 
the head. Sterilize used hand- 
kerchiefs by boiling. Paper 
napkins should be burned. 



JANUARY, 1942 


(Continued from page 10) 
Ja Ga-ba, which sounds like so much 
jabberwacky to old Cal. 

Guess we'll just call him "Dietrich's 
boy friend" and let it go at that. 

The twenty-five-year-old genius of 
the movies and theater, Laird Cregar 
(Hollywood is raving over his per- 
formance in the stage play of "The 
Man Who Came To Dinner"), is a bit 
upset over the way his last name is 
manhandled. It's pronounced "Kre- 
gar," to rhyme with "Cigar." Bette 
Davis' first name is pronounced 
"Betty," not "Bet" as Bob Hope seems 
to insist over the air. 

The luscious Rita Hayworth is Reeta 
and Dottie's last name sounds like 
Lamoore and that fascinating villain, 
Conrad Veidt, answers to Vite and 
Gene's unmarried name is pro- 
nounced "Teer-nee." Her husband's 
first name is Oleg, with the accent on 
the O. "Casseenee" comes nearest to 
Cassini. And Franchot's name is pro- 
nounced "Franshow." 

Any other name that's been stump- 
ing you or your friends? 

Bob Hope — the Author: Far be it 
from us to turn book reviewer (Cal 
Clifton Fadiman York), but we can't 
resist the temptation to talk about 
Bob Hope's new book in which Bob 
relets to the Academy Award Oscars 
as "Frozen Quiz Kids." 


After-ceremony grins: Loretta Young, 
best man Cary Grant, bride Rosalind Rus- 
sell, bridegroom Fred Brisson, Barbara 
Hutton, Frank Vincent, Charlotte Wynters 

Mid* otuff 

Yes sir, Hopeless Hope has cer- 
tainly penned himself a tome you fans 
will adore. Bob's book is different, 
too. In fact, it's the only one written 
that has a wait after every sentence 
for the laughs. 

Bob's Book -of -the -Mumps (you 
can't eat a pickle while reading it) 
may never touch "Berlin Diary" for 
sales, but if it ever fell into the hands 
of an enemy it would confuse him into 
submission. In case of combat we 
suggest dispensing with pamphlets 
and dropping Bob's book in the 
enemy's general direction. General 
Direction would give up at once. 

It begins with a Bing and ends with 
a bang. Crosby writes the introduc- 
tion — as if scoop-chin Hope needs an 

Bob begins by saying, "There was 
a great deal of excitement at the little 
house next door to the Barretts of 
Wimpole Street. My best friend was 

having a baby. Me. London and my 
father were very foggy that night!" 

To quote at random: "I was such a 
beautiful baby. My parents had me 
kidnapped twice a week just so they 
could see my picture in the papers . . 
I used to cry so much they had to 
diaper me on both ends . . . My father 
was the proud father of seven boys. 
In fact, he was the Bing Crosby of 
his day." 

Yes sir, Mr. Hope has written him- 
self one long streamlined gag, one that 
will take you roaring away from what 
ails you. Anyway, if the humor 
doesn't get you the illustrations will. 
We're still laughing. 

Roz takes a Bridegroom! Roz Rus- 
sell up and did it! Hollywood's most 
famous bachelor girl gladly and 
willingly gave up all claim to the title 
when she married her agent, Fred 
Brisson. Rosalind's marriage had been 
rumored and threatened for some 
time, with Roz repeatedly denying 
the rumor. 

Then, a few days after her mother 
in the East announced her daughter's 
engagement, Roz and Freddie traveled 
up to the historic Santa Ynez mission 
in the little Danish community of 
Solvang, California, and in company 
with their close friends were married. 

Cary Grant made a handsome best 
man. As one guest whispered, it 

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must seem queer to Cary, who has 
been Roz's screen husband several 
times, to see his screen wife become 
the bride of another. And what a 
lovely bride Roz made, in her simple 
white Danish-type gown. Actress 
Charlotte Wynters (actor Barton 
MacLane's wife) was matron of 

After the ceremony the guests were 
treated to something new in wedding 
receptions — a picnic on the mission 
grounds, under the live oaks. Around 
the tables, decorated in Danish (the 
groom is a Dane) and American flags, 
sat Mr. and Mrs. William Powell, the 
Nigel Bruces, the Herbert Marshalls, 
Barbara Hutton, Mildred Crawford, 
Roz's stand-in, her two sisters and 
their husbands and her mother. The 
bridegroom's parents were also pres- 

It must be all of ten years ago that a 
tall lanky boy called Freddy Peterson 
roamed around the Paramount Stu- 
dios at loose ends with himself and 
everybody else. "Oh. that's Carl 
Brisson's brother, - ' was the way Holly- 
wood dismissed him. Mr. Brisson, the 
Danish prize fighter who had turned 
actor, was doing his best to catch 
America's fancy at the time. 

Then Freddy went away and people 
forgot him until one day, a few years 
ago, he came back in Hollywood as 
an agent. His name was now Freddie 
Brisson — he'd really been Carl's son 
all the time, but for publicity reasons, 
it had been thought best to deny it. 
Freddie, charming, ingratiating, 
seemed to have found himself. He 
also found Rosalind Russell — as a 

Cal wonders if others, too, remem- 
ber that rather lost bewildered boy, 
who has now married Hollywood's 
most sophisticated glamour girl. 

It's a funny world and Cal hopes it 
will always be a wonderful one to 
Roz and Freddie. 

{Continued on page 73) 

The men will look at Marlene 
Dietrich at Ciro's; the ladies will 
spot the ermine-tail scarf and hat 
and, incidentally, Jean Gabin 




boot style for the ladies, filched 
from a cowboy! The picture of 
real range boots, ton, in leather- 
like fini-h and tooled" leaf de- 
sign — (thanks to the patented 
Textran process.) HADE IN heel 



— Style stolen from a 
Sergeant, Chevrons an 
all ! Pull on very easily 
over any shoe! Heels to 
fit brogans— cuban-heeled 
street shoes — and dressy 
types, sporting "spikes.' 
Choose the boots that su 
the heels you use! 


JANUARY, 1942 

Military Bo 

B - f - Goodrich 



A reliable guide to recent pictures. One check means good; two checks, outstanding 

A film to remember: Maureen O'Hara, Wal- 
ter Pidgeon in "How Green Was My Valley" 

Drama plus beauty: Loretta Young and 
Dean Jagger in "The Men In Her Life" 

^ How Green Was My Valley 
(20th Century-Fox) 

It's About: The story of a boy's life 
in a Welsh mining town. 

HERE is something we can shout 
about, weep over, love forever 
and forget never. 

John Ford has won himself a star, 
if not an Oscar, for his beautiful direc- 
tion of a story narrated by a man who 
tells of his boyhood in a little Welsh 
coal-mining town. 

Poignantly tender, at times sonor- 
ously deafening in its emotional thun- 
der, it never once gets out of tone, 
out of harmony, out of atmosphere. 

Marching through the tale is the 
father, Donald Crisp, and the mother, 
Sara Allgood, with their brood of boys, 
among them Patric Knowles, John 
Loder and little Huw, played by 
Roddy McDowall with unbelievable 
understanding. Maureen O'Hara is the 
beautiful daughter. 

Walter Pidgeon, as Mr. Gruffydd, 
the preacher, gives his best perform- 
ance to date. In fact, it is impossible 
for us to find a single flaw in this 
spellbinding picture. 

Your Reviewer Says: An Academy 
Award Contender. 

The Best Pictures of the Month 
How Green Was My Valley 

Target For Tonight 
Hot Spot 

The Maltese Falcon 
Appointment For Love 

Best Performances 

Walter Pidgeon in "How Green 
Was My Valley" 

Roddy McDowall in "How Green 
Was My Valley" 

Donald Crisp in "How Green Was 
My Valley" 

Maureen O'Hara in "How Green 
Was My Valley" 

Sara Allgood in "How Green Was 
My Valley" 

Laird Cregar in "Hot Spot" 

Loretta Young in "The Men In Her 

~ Life" 

Conrad Veidt in "The Men In Her 

Humphrey Bogart in "The Maltese 

Sydney Greenstreet in "The Mal- 
tese Falcon" 

Mary Astor in "The Maltese Fal- 

Charles Boyer in "Appointment For 

Li i 

Margaret Sullavan in "Appointment 

For Love" 

^ The Men In Her Li*'e 

It's About: The loves in the life of a 
famous ballerina. 

LORETTA YOUNG attempts to carry 
on her frail shoulders the burden 
of a dated story that carries no other 
name so strong as her own. She does 
nobly with the story material at hand 
and is aided by some strong masculine 
support. Conrad Veidt is marvelous 
as the retired dancer who takes the 
raw but ambitious young Loretta in 
hand and makes of her a world- 
famous ballerina. In gratitude Loretta 
marries him when he confesses his 
love, renouncing the man of her own 
heart. John Shepperd. 

Young Mr. Shepperd is a handsome 
newcomer, radiating the kind of ap- 
peal that women respond to. Dean 
Jagger. as a staid American million- 
aire and father of Loretta 's baby, 
seems uneasy in his role. Little Ann 
Todd, as the child, is wide-eyed with 
the wonder of it all. Eugenie Leonto- 
vich and Otto Kruger are outstand- 
ing in their roles. It's an odd. out-of- 
the-way film, with drama and beauty 
that cannot be ignored. 

Your Reviewer Says: 

Portrait with a 



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* Hot Spot (20th Century-Fox) 

It's About: The solving of a New 
York murder. 

Cregar is one of the finest actors in 
the business, or else why do we still 
have those goose pimples? As the 
schizophrenic detective with the flat 
dull voice that carries more menace 
than a sack of dynamite. Cregar is the 
most enormous (and we mean it) 
scary-cat in movies. The incongruous 
catch to the whole business is that 
Cregar is the detective on the side of 
law and order, in search of the mur- 
derer and not — but wait. 

The story has Victor Mature, a New 
York promoter, deciding to make a 
glamour gal of hash slinger Carole 
Landis. His two friends, ex-actor 
Alan Mowbray and columnist Allyn 
Joslyn, aid and abet Mature in his 
project until glamour gal Landis, who 
succeeds beyond their wildest dreams, 
gets herself erased, as our gangster 
friends say. 

Betty Grable, sister of Carole, and 
Mature immediately become suspects 
and, while thrown together in their 
troubles, discover they love each 
other. Relentlessly pursued by Cre- 
gar, the pair hides like animals until 
their capture and the surprising 

It's a pip of a little picture, moving 
fast, piling up suspense and gathering 
no moss as it rolls. Taken from Steve 
Fisher's book, it lacks the title of "I 
Wake Up Screaming!" Why the 
change, we'll never know. 

But that great big Cregar Boy! 
Mama, turn the light on quick. 

Your Reviewer Says: A chiller, a kill- 
er, a diller. 

^ Appointment For Love 

It's About: The honeymoon troubles 
of a professional woman and her 
author husband. 

BOYER at his smoothest. Sullavan at 
her slickest, movies at their trick- 
iest; a combination difficult to beat 
and who would want to? 

Never has Monsieur Charles so 
strongly merited his number-one lover 
rating, as the playwright who mar- 
ries the successful doctor, Margaret 
Sullavan. Immediately after the mar- 
riage, Dr. Sullavan puts into practice 
all her scientific theories concern- 
ing love and marriage by taking her 
own apartment five floors above her 

Boyer tries every possible scheme 
to woo her downstairs. She fails to 
become jealous (that's only a secre- 
tion from the (Continued on page 79) 

JANUARY, 1942 





Based on a novel by lad* Eleanor Smith • Screen play by Frederick Kohner. Michael Wilson. Paul Trlvers 






make great pictures! 

from the days of "THE BIRTH OF A NATION" 
and "CIMARRON". . . through "CAVALCADE" 
and "BEAU GESTE". . . down to "THE 

great families make 

. . . and now to the screen conies the brave 
story of a family never conquered — not 
by armed men or hardship, hunger or 
hate — nor by the turbulent years that 
stole the greenness from their valley. 



as IVOR 

■■■■ ■ : ■ ;-'£--: , I ■:■■■!:■■ 








Twentieth Century-Fox presents 

Richard Llewellyn's 




John Loder • Sara Allgood • Barry Fitzgerald • Patric Knowles 

Produced by Directed by 


Screen Play by Philip Dunne 



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The Chances We Take 

NO magazine can hope to be infallible, can hope to 
avoid occasional errors and inconsistencies. This 
is particularly true of magazines which deal in 
personalities, and thus are frequently affected by the 
vagaries of temperamental human beings. 

As I have told you before on this page, PHOTOPLAY- 
MOVIE MIRROR prides itself on trying to be the most 
up-to-the-minute source of Hollywood information. Al- 
though a magazine bringing you beautiful colored pic- 
tures best printed by the complex rotogravure process 
cannot hope to be as timely as a newspaper or a news 
magazine, we count upon our sources and the sources of 
our writers to bring you the important stories first. 

But, believe me, we have to take chances. Why? Well, 
let me give you an example: 

Quite some time before the news broke in the papers 
that Stirling Hayden was going to quit Hollywood, one 
of our most reliable sources gave me this information and 
offered a story explaining why Hayden was taking the 
step. You have heard all the suspicions: a publicity stunt, 
a strike to get better salary, maybe even a momentary 
whim that would blow over. I was in Hollywood and 
covered all possible sources of information. Helen Gil- 
more in New York did the same. We learned beyond a 
shadow of a doubt that Stirling Hayden meant it. But 
what if it were a momentary mood, blown away by the 
first gust of a changing wind? 

Well, that was a chance we had to take and, in taking 
it, rely only upon our instinct of why people do things — 
and when. It was not until weeks later in my office in 
New York that I was actually able to look into the clear, 
determined eyes of Stirling Hayden and know definitely 
that it was no momentary mood. 

Sometimes we are not so fortunate. Several months 
ago we published "Round-up of Romances," in which 
Rosalind Russell stated emphatically, "I'm not going to 
elope, no matter what the newspapers say." Well, she 
didn't elope, but her statement to Ruth Waterbury, most 
reliable of Hollywood editors and reporters, definitely 
gave you the impression that she did not intend to marry 
Fred Brisson at all. A few weeks later she was his bride. 

Publishing Mrs. Brisson's (nee Russell's) statement 
was a good bet. We took the chance. And lost. 

But take the case of the romance of Ginger Rogers and 
George Montgomery, published in last month's issue. As 
you may recall, the story does not claim that George and 
Ginger are going to get married or that the relationship 
is anything more than a charming romantic friendship. 

The behind-the-scene facts about that story are amusing: 
When I received the manuscript, Ginger was not in 
Hollywood and her mother, Lela, one of the most honest 
and straight-shooting women I know, was at the new 
Rogers ranch in Oregon. Most of my pals in Hollywood 
were telling me that the romance had ended practically 
before it had begun (as they are still saying) and every 
evidence pointed to the desirability of "killing" the 
story. The phone rang. It was Lela Rogers, just re- 
turned from the ranch. I was leaving for New York that 
night, but somehow I must manage to verify the story. 
"When can I see you?" I asked Lela. "Tonight," she 
said. "But I'm leaving for New York," I replied. "I 
know," she said, "your office told me. Ginger and I are 
going East on the same train." 

So in that case we didn't have to take a very big 
chance, for in the hours we all spent together I was able 
to verify the fact that George Montgomery had definitely 
proposed to Ginger and that their friendship was still on. 


F course, we cannot expect stars to continue in- 
definitely to be friends because they once said they 

Nor can we expect them always to carry out their 
plans, since often fate makes them "gang agley." 

You may remember the odd circumstance that attended 
Richard Greene's departure from these shores. Supposedly 
in Hollywood waiting for a commission in the Canadian 
army — and open to criticism for his actions — he was 
actually, according to a tip given us, in New York pre- 
paring to sail for England. We called the British ship- 
ping commission and although we could not verify it 
(war censorship, you know) the tone of the officer in 
charge gave us the clue to its truth. We took a chance 
there. And won. 

The collective instincts of our staff told us — in the case 
of Alice Faye and Phil Harris — that they were not going 
to get married. But Sara Hamilton, our most energetic 
newshawk, insisted it was on the level. Doubting her 
judgment, we still took a chance, assigned her to an inter- 
view with Harris — and thanks to her superior instinct 
we had a scoop when the marriage was announced 

So it goes. We can check the highest authorities. We 
can deal with only the most reliable writers, verify our 
sources and theirs. And still, somewhere along the line 
of getting a scoop, human nature being what it is, we 
usually have to toss a coin. 

JANUARY, 1942 






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JANUARY, 1942 


Don't blame us — it's Hedda's own ideas of what Hollywood's 1942 intentions, 
honorable or dishonorable, should be. But wait till Cary Grant sees what she said! 


SEEMS incredible that resolution time has caught up with us again. 
This year's gone by faster than flit can catch flies. Some of my 
last year's resolutions haven't been digested yet, but I always say 
one good turn deserves another. So here goes, without malice, reser- 
vations, or pap. 

If we ever have another investigation like the late lamented Wash- 
ington Follies, I'm hoping the first person put on the witness stand 
will stand up, when accused of making propaganda pictures, and have 
courage enough to say, "Sure we made 'em. We make pictures to please 
all the people. And inasmuch as all our books, radio, short stories, 
newspapers were filled with the atrocities of Hitler, we put a few of 
them on the screen. What would you have us do — close our eyes and 
pretend a war isn't going on?" But when the public proved that they 
didn't want war pictures, no industry ever turned about-face more 
quickly to go into musicals, comedies, and give the public what it 
wanted. Let's stand up to our obligations and when accused of some- 
thing we had every right to do, say, "Sure we did it. You can't shoot 
a man for aiming to please — or can you?" 

Clark Gable should resolve to throw his influence to get Judy Garland 


photoplay combined with MOVIE mirror 

yrone Power: Dattyi Zonuck 
enow letter 

Spencer Tracy: At last we find" 
oat wnot he cut eyetaeth on / 

as co-star. Now that she's grown up and married, she's earned that 
right and I have a feeling her fans would applaud it. Sure, I know she's 
wonderful in musicals. She and Mickey Rooney in "Babes On Broadway" 
ooze so much talent they're frightening. But remember, Clark once 
did a song and dance — maybe he could learn to do another one, who 
knows? Failing that, Judy can go dramatic with him. 

Let's hope Jeanette MacDonald and Gene Raymond decide to team 
up again. "Smilin' Through" went over with a bang, after the producers 
had howled for years that you fans wouldn't like to see husbands kissing 
their own wives on the screen. Well, if they can't do a good job of it 
after so many rehearsals, who can? 

In Ginger Rogers' busy schedule (gosh! she's wanted for every picture, 
seems to me. Yet only a few short years ago there were grave doubts 
that she could do drama) I wish she'd find time to squeeze in another 
picture with Fred Astaire, because the musicals they did together never 
yet have been topped by anyone. 

Let's dig up another "Woman Of The Year" like Katharine Hepburn 
for Spence Tracy. He's proven in this that he's a better comedian than 
he was horror man in "Jekyll And Hyde." Why (Continued on page 83) 

JANUARY, 1942 



We are fortunate to be able to 
bring you, with the permis- 
sion of all concerned, 
this fascinating, in- 
timate letter from 

Laurence Olivier 


Douglas Fairbanks Jr. 
and Mary Lee Fairbanks 

Walking down a 
London street: Laur- 
ence Olivier and 
wife Vivien Leigh 


photoplay combi?ied with movie mirror 


The letterhead bearing 
the name oj the "land" 
ship mentioned below 
was removed by censors 

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For last minute 
newi of what 
other Hollywood 
stars are doing 
in England please 
turn the page 

JANUARY, 1942 


, . . ave taken part in 
Reported to have n Q 

several successful ^ ^ ^ en 

5ia Franc: M-ior 

Richard Greene, just given his 
commission in the tank corps, was 
one of the tireless actors who 
gave shows in air-raid shelters 

America hailed Ralph Rich- 
ardson in "The Citadel ; he s 
in the British Navy 





OVER the air in England one night soon, from the British Broadcasting 
Company, will come a crescendo of "V's," tapped out in Morse code by 
the nimble feet of Fred Astaire. A night or two later the voice of Charles 
Boyer will be heard assuring embattled Britons that there are: "forty million 
Frenchmen with an English accent in their hearts." 

The two programs are among the recordings which Ben Lyon and Bebe 
Daniels, former American film stars, now England's favorite air entertainers, 
recently took back to London from a quick trip to Hollywood to enlist the 
support of film folk there in the British campaign to keep morale high. 

Just how highly the English government values the aid to morale of stage, 
screen and radio entertainment is testified by the frequency with which many 
of the English actors in various arms of the service are released from their 
military duties long enough to do a play or picture. 

David Niven, one of the first English actors to volunteer, is now a major 
in the parachute corps, and is reported to have taken part in several successful 
raids on Occupied France. But as important as this assignment is, he has just 
been borrowed from the Army by Leslie Howard to co-star with him in How- 
ard's film production about the famous English fighting plane, the Spitfire. 
Howard, an officer in the first World War, was too old for military service in 
this one, but returned to England from Hollywood at the outbreak of hostilities 
to help keep British film production alive during the emergency. 

Richard Greene, who recently won his commission in the tank corps, was 
given leave to make two films. Latest news from England reported that Greene 
had been ordered to South Africa with his tank unit. 

Tall, droll Ralph Richardson who, through such pictures as "The Citadel" 
and "Four Feathers," was becoming almost as well known to American audi- 
ences as he was in his native England just before the war broke out, is a flight 
officer with the air arm of the British Navy. Shortly after Dunkerque, Rich- 
ardson was reported to have been killed in action. This unhappy news later 
was denied and Richardson is still on duty with the fleet. 

Another British matinee idol, who only recently has become well known 
over here, is Rex Harrison who made both "Major Barbara" and "Night Train" 
while on leave from the RAF. Harrison's latest contribution to the entertain- 
ment campaign is a stage production of "No Time for Comedy." 

The production proposal most eagerly awaited by fans, "This Above All," 
co-starring Vivien Leigh and her husband Laurence Olivier, had to be 
abandoned as an English project and transferred to Hollywood where Tyrone 
Power and Joan Fontaine will do the starring roles. This was not because of 
wartime emergencies but because of Vivien's impending motherhood. By the 
time leave cbuld be arranged for Olivier, it was too near January, when Vivien 
expects her baby. 




Color Portrait Series: 

Kette. Va.v'i.5 

Starring, via the brilliant CBS Sun- 
day night coast-to-coast broadcasts, 
on the Gulf Screen Guild Theater; 
appearing in the Warners' picture, 
"The Man Who Came To Dinner" 

page 25 

C/LLvia de. 

Appearing in Warners' 

"The Male Animal" 

page 27 

The /xonaLd /xeaaanl 

Husband Ronald is now appearing 

in Warners' "Kings Row"; wife 

Jane Wvman in Warners" 

"You're In, The Army Now" 

page 30 

(2katUi Royet 

Appearing in Universale 

"Appointment For Love" 

page 32 

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Postage Stamp 1 


if Mailed 

in the 

United States 


First Class Permit No. 180. Sec. 510 P.L.AR. New York. N. Y. 


205 EAST 42nd STREET 




says Olivia de Havilland 

TVief 0,e ^il* ' 



They were attracted to each other 
when they first met. Then things 
happened that made her call Flynn 
"a selfish brute." But now . . . 

OLIVIA was contrite, Olivia 
wanted to make amends, 
Olivia had learned the lesson 
preached by John Doe— "Don't con- 
demn your neighbor, try to under- 
stand him." Olivia had condemned 
Errol Flynn. "He's a bad-mannered 
selfish brute," she'd stormed, not car- 
ing who heard her. 

"Now I feel like a heel," she wailed. 
"Oh, not because I thought badly of 
Errol. We all make mistakes about 
people. But because I had to go yap- 
ping my head off to anyone who'd 
listen. In decency, I ought to round 
them all up and tell 'em I was wrong, 
but how can I?" 

She looked so pretty in the period 
dress of "They Died With Their Boots 
Oh," the new Flynn-De Havilland 
opus, that you concentrated with dif- 
ficulty on her distress. Distressed she 
unquestionably was, however. We 
suggested she tell the story for pub- 
lication, easing her conscience, giving 
us a break and righting an injustice 
all at a single blow. We could call it 
"Livvie Done Errol Wrong." 

"It's not funny, McGee," she said 
absently, thinking it over. Then — 
"All right, I'll do it. Call it 'With 
Apologies to Flynn.' " 

Olivia thought she knew Errol. Off 
and on, over a period of eight years, 


she'd played opposite him. They've 
been screen sweethearts, they've spent 
weeks on the same set, they've made 
personal appearances together, she's 
been charmed, bored and infuriated 
by him. She didn't think he could 
ever surprise her. 

At seventeen Livvie captivated Max 
Reinhardt, audiences at the Hollywood 
Bowl and the Warner Brothers by her 
performance as Hermia in "Midsum- 
mer Night's Dream." Before going on 
tour with the play, she was signed 
by Warners. Flynn was signed in 
England at about the same time. 

The Reinhardt company was playing 
Chicago when Livvie's phone rang one 
day. A Warner man calling. "There's 
a young Irishman coming through on 
his way to the coast. Since you're 
both under contract to Warners, how's 
about meeting him at the station and 
taking pictures together?" 

Who, the Shakespearean actress? 
"Certainly not," Olivia said crisply, 
"it would be most undignified.' She 
could almost feel Ellen Terry patting 
her on the back for upholding the 
traditions of the bard. 

The tour ended, she returned to 
Hollywood for the screen version. She 
was green, she was shy, this was her 
first hop from under the maternal 
wing, she romanticized life and men. 


On the set, when she wasn't working 
she'd go off to a corner and sketch. 
Once she felt eyes on the back of her 
head and turned to find that they be- 
longed to a tall smiling young man 
who kept them on her with a trans- 
fixed expression which confused her, 
since she couldn't be sure whether he 
was flattering or making fun of her. 

"Well — " she thought, and made a 
stab at going on with her sketch. Foot- 
steps sounded behind her and the 
young man dropped on one knee at 
her side. 

"I hope you don't mind my intro- 
ducing myself. I'm Errol Flynn and I 
was supposed to meet you in Chicago. 
What's your telephone number?" 

It really wasn't fair. Not with a 
child. All he needed was a lance and 
white charger and he didn't really 
need them. Hewing to her own line, 
however, the child didn't do so badly 
after all. "I never give my telephone 

"Then you've got to have lunch with 
me tomorrow." 

"I eat my lunch alone." 

"You'll have it with me tomorrow, 
if it means I've got to knock a police- 
man down." 

She lunched alone next day, won- 
dering whether maybe a policeman 
had knocked (Continued on page 74) 

photoplay combined with movie mirror 







No runaway 

for these two! 

A pretty personal discus- 
sion of a very personal sub- 
ject by Bonita Granville 
and her b.f., Jackie Cooper 


Two, who say they won't, talk to two 
who did: Bun and Jackie with recent 
elopers Judy Garland and Dave Rose 


Cooper both love pointless stories 
and thick red steaks. They both 
have quick tempers and a genius for 
saying the wrong thing at the wrong 
time. And they both believe, heart 
and soul, in old-fashioned weddings 
with all the romantic trimmings. 

"No runaway marriage for me," 
said Bun. 

"Elope? Not me," said Jackie. 

Both were quick to point out it was 
their personal opinion they were ex- 
pressing, not an indictment of recent 
Hollywood newlyweds who had chosen 
to dash off on sudden impulse to some 
distant town and surround the mar- 
riage ceremony with semisecrecy. If 
others like Judy Garland and Dave 
Rose, Gene Tierney and Oleg Cassini, 
Kathryn Grayson and John Shelton 
preferred eloping, then elopements 
certainly were right for them. It 
simply was a matter of how Bun and 
Jackie, as individuals, felt on the 

Immediately, too, they insisted they 
were speaking about marriage in gen- 
eral, not when, how, or even if they 
themselves get married. Not only 
have they never 'announced any mar- 
riage plans, Bun and Jackie said, but 
actually they never have made any 
such plans. Cross their hearts! 

"It's silly to talk about marriage 
when we're not even old enough to 
vote," Jackie explained. "Seems to 
me it would be a smart idea if we 
finished this growing-up business 
first. After all, I've just turned 
nineteen and Bun's even younger. 

We've got lots of time ahead of us." 
"Check!" Bun amended. "And 
there's another reason — our careers. 
Each of us happens to be at a pretty 
important point in our professional 
lives. If we are to win the success we 
want, our first interest and considera- 
tion must be for those careers, not 
marriage. I don't believe you can get 
married and then say: 'Well, that's 
that; marriage will take care of itself 
so now I'll devote myself to my 
career.' Successful marriage doesn't 
work that way, particularly for a girl. 
It has to come first and neither of us 
is ready as yet to pigeonhole our 
screen work in a place of secondary 

Jackie grinned. "Lady," he said, 
"you said a smart mouthful!" 

They do admit to being boy and girl 
sweethearts and have been for well 
over a year. Bun thinks Jackie is 
tops, even if he does squander his 
allowance in an atrocious fashion, and 
Jackie rates Bun as aces, even if she 
is disgracefully careless about being 
late for appointments. And maybe, 
when the time is right. . . . 

BUN first met Jackie when she was 
a giggly fourteen, during the mak- 
ing of "White Banners." She got her 
first nod from him on her fifteenth 
birthday — a bottle of perfume for a 
birthday gift. It was expensive per- 
fume, too, in keeping with Jackie's 
belief about doing things right if you 
do it at all. Then, apparently, he 
forgot anyone named Bonita Granville 
was on earth. (Continued on page 75) 

photoplay combined with movie mihror 


With two lively females on his hands, 
Ronnie calls his home "The Ronald 
Reagan Home For Delinquent Girls" 


THE Ronald Reagans were chewing 
the fat with a couple of friends. 
Discussing some item, the other 
wife said to her husband, "Oh yes, 
that's the night you weren't talking 
to me." 

Jane turned on Ronnie. "Now see? 
Now there!" she wailed. "Why don't 
you ever not talk to me the way he 
sometimes not talks to her?" 

There you have the skeleton in the 
Reagan closet. Nearing their second 
anniversary, they have yet to stage 
their first battle. This worries Jane. 
"First, it's unnormal," she argues. 
"Second, there's nothing I like better 
than a good fight. Third, if you don't 
fight, you can't make up — " 

Reagan sees his wife's point. There 
ought to be problems. There ought to 
to be a reasonable degree of stress and 
strain in adjusting oneself to the 
marital pattern. The books say so. 
He'd be glad to dig up a problem to 
oblige the books, but thus far it's 
eluded him. 

He and Jane get along as amicably 
since their marriage as they did be- 
fore it — "The only difference being 

that now, when I beat her, it's legal." 

Of course this kind of talk is a lot 
of mullarkey. Like everyone else, 
they've had to adjust themselves to 
marriage. It soon becomes clear, how- 
ever, why these two slipped into 
double harness without wrenching. 
That they're crazy about each other 
goes without saying. So are plenty of 
newlyweds who weep and growl their 
bewildered way through the first year. 
The Reagans also have intelligence 
and the kind of humor that's another 
word for perspective. A former un- 
successful marriage has intensified 
Jane's sense of values. Most young 
wives take their happiness for granted. 
She. holds hers like a treasure in both 
hands. As for Ronnie, what might 
irritate other husbands amuses him. 
"I'm the greatest comic round my own 
house," marvels Jane. For instance — 

"We don't belong to the golf club 
any more," she'll inform him. 

"Why not?" 

"I got into a beef with the guy who 
runs it and resigned." 

Instead of barking, he chuckles. 
They both know he'll go back and re- 

join next week. Jane's counting on 
it. This feminine quirk tickles Ron- 
nie, in whom the comedy sense out- 
strips the didactic. 

Or she'll phone and say: "You're 
going to be mad at me. I smashed a 

"Are you all right?" 

"Yup, but the fender's smashed." 

"How did it happen?" 

"Well, you know that street down 
so-and-so where the stop sign is? 
Well, I didn't stop." 

Now there's nothing funny to Rea- 
gan in careless driving. Nor to Jane 
either. He knows she's apologizing 
and he thinks the method of apology's 
cute. So he skips the lecture and grins 
at the cuteness. 

A couple of times, he admits, he's 
gone "like this," "like this" being 
illustrated as a not too formidable 
glower. "Then I get an eyeful of that 
kisser and she blinks and looks all 
of eight, so I find myself talking to 
her like a father. Between you and 
me," he added, regarding the kisser 
across the table, "I have a sweet 
nature." (Continued on page 77) 

JANUARY, 1942 







Zanies Olsen and John- 
son get smart with a 
bathing beauty, same 
technique as . . . 

There's a thin one and a fat one. 

We don't mean Abbott and Costello. 

Yes, we do, too! That is, we want 

to say Olsen and Johnson aren't 

copycats . . . Well, you better read this 

A LOT of people in a lot of places are going to think, when 
they see the new screen team, Olsen and Johnson, in 
"Hellzapoppin' " that they're 1942 editions of the 1941 hits, 
Abbott and Costello. But the Olsen-Johnson team dates back 
to 1914 when they met in a Chicago Tin Pan Alley and started 
out on twenty-four years of vaudeville clowning to end up as 
the stars of the smash New York stage hit, "Hellzapoppin'." 

They did everything they could think of, the screwier the 
better, to put their names before the public — milking cows on 
Broadway, driving down Santa Claus Lane in Hollywood on the 
Fourth of July. They succeeded. A great portion of the 
American nation know them as prime comedians now; after the 
release of their Universal picture, their laughs will be public 

Abbott and Costello date from 1930, made big-time in the 
same fashion as Olsen and Johnson — i.e., by long hard one- 
night stands in vaudeville. 

It's a case of two plus two equaling four comedy geniuses. 
It's also a case of four smart minds who've made a million 
dollars selling corn. 

JANUARY, 1942 

. . . Abbott and Cos- 
tello. But don't draw 
any zany conclusions! 


How not to trim 

mas tree this 
is, you see, all 
decked tor Christ- 
mas morning with gitts 
for you and all the crew. 
What joys are now a-borning! 
A girl named Day here has her say 
and breathes a word of warning: Make 
mem'ries stick, buy gifts that click, all 
silly gimmicks scorning * No shoetrees, please, 
or gloves that squeeze or perfumes light and airy. 
No gold fish schools * Observe these rules and of pet 
peeves be wary * Give games of chance, books of romance, bright 


the . - 

gals Q 

a I I 
carry * And flashlights new or stem- 
ware blue will make her Christmas merry * 

iraine Day: Listen to 
her and you won't give 
gifts that are Christ- 

LARAINE DAY, who just died out 
of the Dr. Kildare series so that 
she may go on to the heaven of a 
big role in M-G-M's "Kathleen," has 
a few weighty remarks to deliver on 
the problem of what no girl wants 
to find under her Christmas tree on 
the morning of December 25. 

Take last Christmas, for instance. 
When Laraine started to husk 
her presents, she attacked a parcel 
wrapped in handsome paper and tied 
with ribbon a rnile long and a yard 
wide. Here, she thought, was going 
to be something. She unwrapped and 
she unwrapped; it was clear that she 
had come to grips with one of those 
humorists who gets a kick out of en- 
closing a gift in more petticoats than 
were worn by the Infanta of Spain. 

Finally she got to the crux of the 
situation; out of the last wrapping she 
extracted — half a dozen green velvet 
clothes hangers. 

Hmmm. Miss Day's closet acces- 
sories are all blue. 

Oh, well, there were more packages. 
There was a very important-looking 
box done up with silver stars and 
loops of cellophane. This she divested 
with speed and lifted the lid off — guess 
what? One of those wooden kitchen 
gadgets with household needs ar- 
ranged in two neat rows. You put a 
colored peg in the hole opposite the 
commodity you need from the grocer; 
the well-known fact that Miss Day 
lives with her family and that the 
family has an adequate cook who 
looks with suspicion on Laraine's do- 
ing more than squeezing an orange in 
the kitchen hadn't deterred one gift- 
giver from ringing coins on a counter 
without ringing the Christmas bell. 

In rapid succession Laraine also un- 
wrapped (a) a bottle of a perfume to 
which she is violently antipathetic; (b) 
one of those (Continued on page 88) 

photoplay combined with movie mirror 

your Christmas tree 


JEFFREY LYNN, who's about to 
have you applauding him loudly 
in Warners' "The Body Disap- 
pears," can be very explicit about his 
pet holiday peeve: It's those ties. 
Those no-time-but-Christmas cravats, 
which he insists are dragged out into 
the limelight of a haberdashery during 
the one period of the year when The 
Little Woman may be found lurking 
with a bargaining eye around horren- 
dous necktie and handkerchief sets. 

Mr. Lynn tells about the sad case 
of a theatrical friend who was given 
a star-spangled tie by his honey pf 
the moment He didn't want to hurt 
her feelings so he wore the tie, but 
when he was out of her presence, he 
tried to preserve his standing in the 
world of men by covering most of the 
tie with an open palm. This hand-on- 
chest gesture was misunderstood by a 
sympathetic producer in New York to 
whom the young man was applying for 
a job and, so help me, the producer 
gave the chap enough carfare to "go to 
Phoenix and get cured." 

Mr. Lynn's anonymous hero did 
come west, but he finally took a job 
in a walnut packing plant in lieu of 
starving to death as a movie extra. 
"On Broadway he would have been 
great," says Jeffrey solemnly. "See 
how a promising career was wrecked 
by a dizzy Christmas tie?" 

So, girls, take a man's advice and 
don't try to make him a gift of neck- 
wear. Let him buy his own and only 
smile if the result resembles a cross 
between a Mexican bull fight and wa- 
termelon a la king. 

Jeffrey also puts the hex on mili- 
tary brushes. Seems that bristles 
come in various grades of stubborn- 
ness and your heart interest with the 
violent mane isn't going to admire the 
same brush that would appeal to the 
Lothario with (Continued on page 88) 

JANUARY, 1942 

Saint Nick, you know, still likes to go down chimneys quite old- 
fashioned * With bulging pack upon his back to answer notes im- 
passioned * Suave Jeffrey Lynn herewith steps in to solve a 
lady's puzzle * "When this I've read," he sadly said, "I'll wish 
I'd worn a muzzle! * Yet, for the cause of Santa Claus. 

I feel I should 
spare all guys 
ties, loud pro- 
e d * So do 
lady fair, and 


warning w cheap 
cause regrets, 
by New Year's 
glamma pix make 
girl friends tern- 
luscious pose 
seems stale compared with Mary "* Please heed these tips from Jeffrey's 
lips (there's mistletoe a-swinging), just read below and you will know the 
gifts to come a-bringing * and incidentally how to set those wedding bells a-ringing 

be candid * To 
from Christmas 
test is demand- 
take care, my 
hark to further 
penman sets all 
they're shelved 
morning * Those 
haste to nix of 
porary * each 
of Jean or Rose 

ONE of these days Brian Don- 
levy is going to take a little 
trip to Washington to get some 
legislation passed in a hurry. The 
project will be called the Quit-Fool- 
ing-The-Kids Bill and will aim at 
protecting the unsuspecting youth of 
the land from such inspirational 
poppycock as "Hitch your wagon to 
a star." 

The way Mr. Donlevy sees it, get- 
ting the bill passed will be no trouble 
at all. He will point to his own per- 
sonal history and let his case rest. 

Didn't Mr. D. hitch his wagon to a 
star? Of course, he did. So what 
happened? The frisky little comet 
kicked over the traces and left him 

In fact, if you must know the truth, 
it was a series of accidents and not 
any hitching-wagons-to-stars that is 
responsible for Brian's present plight, 
a state of affairs against which, by 
the by, he has no complaint. 

According to Brian, himself, he was 
supposed to be a girl, which was no 
little accident as you may have gath- 

The gentleman in question — Brian 
Donlevy. He is an asset to Para- 
mount's "Birth Of The Blues" . . . 

hitch your wagon 

ered if you are a Donlevy fan. A trio 
of Donlevy pictures, "The Great 
Man's Lady," "Birth Of The Blues" 
and "The Remarkable Andrew," 
which you will be seeing soon, will 
confirm your conclusion. 

The bright star to which Brian 
Donlevy hitched his wagon was lit- 
erature, the hard -knit, real and 
rugged brand that Mr. Ernest Hem- 
ingway later got around to writing. 
And it wasn't a case of wishing will 
make it so. Hardly. 

By the time he was fifteen and 
ready for prep school he had a couple 
of haversacks full of his writings, 
including two unfinished novels, three 
and a half gross of poems, a skeleton 
of a play called "Tantamount," what- 
ever that means, and a miniature 
history of English literature with all 
dates omitted so as not to confuse 
young scholars. 

"As a lad," Brian confesses, "I 
hoped to become a writer. But my 
folks didn't have the money to give 
me the usual preparation, four years 
at some ivy-league college. I could 

He has an asset in his "Squirt," 
who is Mrs. Brian Donlevy to you. 
He writes her sentimental poems 

— to a star, or to any other gold-brick 

adage. Hitch up instead with Brian Donlevy, who's 

lived and learned. The guy has ideas! 


see my way clear only by one route: 
I would become a military man, get 
stationed at some remote post and 
thus find all the leisure a writer 

He was halfway through St. John's 
Military Academy when war broke 
out. Being young, adventurous and 
patriotic he volunteered and sailed 
for France. 

THE Donlevy war record, to the 
publication of which he was no 
party, is compounded of fact and fic- 
tion and the devil take the hindmost. 
To read the romance-ridden accounts 
of divers writers, Brian Donlevy was 
gyped out of a Congressional Medal 
for bravery, the Order of the Purple 
Heart and only Walt Disney knows 
what-all else. Judging from these 
awed historians, he was hands-down 
the fanciest flyer in France. 

But mention his war years to Don- 
levy and he asks you in that vague, 
poking way that he employs toward 
strangers: "What was it that guy 
Sherman said about war?" You 

gather that he'd rather skip the whole 
subject. Obviously, it's been a source 
of embarrassment. 

Well, after the Armistice he re- 
turned to the United States and that 
bright star of his. He tried for West 
Point but had to settle for Annapolis. 
There Papa Donlevy's son of Sheboy- 
gan, Wisconsin, was no great shakes 
as a student. But in nonnaval mat- 
ters he did wonderfully by himself. 

By way of proving that Noel Cow- 
ard wasn't the only many-talented 
man in circulation, he wrote the plebe 
class musical, did several skits in his 
show, sang a few songs and executed 
a spot of hoofing. 

An accident during sophomore year 
revamped his life once more. He was 
anchored in the infirrnary (laid low 
by a dental infection) when he hap- 
pened to pick up a newspaper. The 
front page was filled with talk of dis- 
armament and the scrapping of ships. 
Naval men were quoted as saying 
that the drop-off in tonnage would 
leave the Academy with hordes of 
unwanted (Continued on page 72) 

Their Villa Donlevy, out Brentwood way, 
is a charming manor house, part modern, 
part Cape Cod and completely happy home 



Tommy Turner Henry Fonda 

Ellen Turner Olivia de Havilland 

Joe Ferguson Jack Carson 

Patricia Stanley Joan Leslie 

Ed Keller Eugene Pallette 

Michael Barnes Herbert Anderson 

Cleota Ha+tie McDaniel 

He seemed like a nice specimen of tame 

Fiction Version by NORTON RUSSELL 

A Warner Brothers picture. Executive producer, Hal. B. Wallij. 
Associate Producer, Wolfgang Reinhardt. Directed by Elliott Nugent. 
From the play by James Thurber and Elliott Nugent. Screen play 
by Julius Epstein, Philip Epstein and Stephen Morehouse Avery. 

THE autumn sunlight was mellow 
on the red-brick buildings of Mid- 
western University. It, and the 
smell of burning leaves, and the holi- 
day feeling in the air, all spoke 
eloquently of football. So did the big 
banner over the wrought-iron campus 
gates. It said, "Be at the Rally To- 
night. Beat Michigan Tomorrow." 

The Tommy Turners were having 
people in that evening for cocktails 
and a buffet supper, partly because 
it was the night before the Big Game 
and partly because it was Ellen 
Turner's birthday — although Tommy, 
having been married six years and 
not having too good a memory at 
any time, had forgotten that. He 
came home about four-thirty, hum- 
ming to himself and carrying chrysan- 
themums and a bottle of rye. 

Tommy Turner, at twenty -eight, 
was rangy and bespectacled, with 
clothes that hung indifferently on his 
tall loose frame and a slight stoop to 
his shoulders. In moments of stress 
or deep thought — which was most of 
the time — he had a habit of ruffling 
his hair so that he looked like a 
puzzled spaniel. He was Associate 
Professor of English at the University, 

but that morning Dean Damon, the 
head of the department, had told him 
it looked as if he'd be made a full 
professor at the end of the term. 

Ellen came in to find him putting 
the flowers into a vase already too 
fulL This didn't surprise her. She 
knew the flowers weren't for her 
birthday, because she'd asked Tommy 
to get them, and she would naturally 
expect him to put them in the least 
suitable place. Ellen was pretty and 
dark-haired and Tommy had won- 
dered, when they were first married, 
how in the world he had managed to 
win her over the competition of Joe 
Ferguson, Midwestern's great half- 
back. After the first year or so, how- 
ever, he seemed to stop wondering 
and begin taking her for granted, 
which bothered Ellen a little. 

Joe Ferguson was coming to the 
party tonight. It would be the first 
time Ellen had seen him since her 
marriage. He'd been living in Pitts- 
burgh and doing very well — so well 
that until this year he'd always been 
too busy to come back for the Big 
Game. And Ellen wondered if he'd 
changed, or if he was still the same 
big, handsome, vital Joe. . . . 

"Oh," she said to Tommy, suddenly 
remembering, "Dean Damon called. 
Cleota took the message. She seemed 
to think the Dean wanted you to go 
over to his house and see him." 

And that reminded Tommy, so he 
told her about the full professorship. 
When she had finished giving him a 
congratulatory kiss, she said anx- 
iously, "Have the trustees voted on 
it yet?" 

"No, but that's just a formality." 

"All the same," Ellen said wisely, 
"it's a good thing Ed Keller's coming 
to the party tonight." 

Tommy grumbled, "Why do we 
have to have Ed Keller?" 

"He's the most important trustee — 
and Joe has to have someone to talk 
football with." 

Tommy sighed. Ed Keller was the 
town's biggest real-estate agent and 
most football-minded alumnus and 
trustee. He was responsible for Mid- 
western's stadium, which was the 
biggest between Chicago and Cali- 
fornia and which Tommy considered 
a waste of money. 

"Well," he said, "I'd better go see 
what the Dean wants. Come along?" 

The Dean (Continued on page 66) 

sband. But, just like every other man, he wanted, just once, to roar like a lion 


Looming large: Philip Dorn of M-G-M's 
"Tartan's Secret Treasure"; a faultless actor 
imported from Dutch films; six-footer hus- 
band, for seven years, of a Holland miss 

father a little one: Joan Fontaine of RKO's 
'Suspicion"; witty, ambitious, clever per- 
ton; possessor of a one-sided smile; pos- 
sessor, too, of a husband named Brian Aherne 

London street scene 
starring Joan Bennett 
in uniform for Fox's 
"Confirm Or Deny" 

Give the Bennett a hand! 
She's said what a million women 
wouldn't. Here's a masterpiece 

6cf csfoGuu faJZAjuuaft~ 

hkai S itfibft mm umdi <k 

REMEMBER the old refrain about, 
"If I had a magic wand to bend, 
' I'd wish seven wishes o'er the 
land o' men?" 

My first wish would be this: That 
all men should cultivate a sensitivity 
to mood. Then they'd never spoil a 
lovely moment! You know, it's that 
quality Spencer Tracy projects from 
the screen to the nth degree. A qual- 
ity based on thoughtfulness and con- 
sideration — and that's getting all too 
rare these days. 

One day last spring, for instance, a 
party of us drove up into the moun- 


tains. The valley below was like a 
floral carpet, brilliant with thousands 
of lupines, poppies and those lush eve- 
ning primroses. "Oh, but isn't it beau- 
tiful!" exclaimed the girl in the front 

"Yes," said the man absently who 
was driving. "I like" — looking at the 
car — "to test her accelerative speed 
on different grades to see what she'll 
do." And he stepped on the gas. The 
scenery went by in a rushing blur. 

And romance evaporated into the 
air. The girl had been thinking of 
marrying him. She quickly changed 

her mind. "Why," she said, "he's the 
sort of man who would kiss his wife 
while she's balancing a check book 
and scold her about extravagance in 
the midst of making love to her! I'll 
bet he sees every sunset behind a 
sporting page." 

It would be a wonderful world for 
women if all men acquired that sense 
for mood. 

And if (Wish No. 2) they all sud- 
denly burgeoned forth with the sense 
of good grooming! Girls are just as 
allergic to whiskers, baggy coats and 
droopy socks (Continued on page 60) 

photoplay combined with movie mirror 

Hello to Barbara Stanwyck 

who has more than a nodding 
acquaintance with skis in Co- 
lumbia's "You Belong To Me." 
She makes a pretty cover; she 
does a bit of interior decora- 
tion here in a gray gabardine 
ski suit with zipper-closed 
pockets, a reversible jacket 
and a lambskin coat that turns 
itself inside out to be a 
smart gray gabardine topper 


Miss Stanwycn s 

clothes designed by 




•c . • 





* 0? ^\"v 

^ ^^' _,«A « 

Dress With Ideas: It's slate blue, 
a bright note in any crowd. Its 
cross-over bodice has four fabric 
arrows finished with silver arrowheads. 
Its corselet waistline and skirt with over- 
lapped folds will have you cutting a 
figure under the mistletoe. Miss Stan- 
wyck pulls an all-one-color pose, 
wears slate blue gloves and hat 
and steals every fashion scene 

JANUABY, 1942 


Edith Head calls it a 
negligee; we say it's a 
triumph; Barbara Stan- 
wyck wears it because' it's 
pretty, it's pink and it 
turns most any woman into 
a siren de luxe. Over the 
fitted satin foundation, 
flesh-toned chiffon is 
worked into a trailing 
skirt, a fitted waist and a 
collarless bodice with bal- 
loon sleeves gathered into 
a diverting inch-deep cuff. 
It's a boudoir must and a 
breakfast-table trump card 

v* .-r^iiiww 





A silver-spo©»-in-rte- 
mo«rHi touch, yours for the 
buying of this whH» crepe 
dinner dress, draped on 
top to suggest a bolero, 
decorated in a million- 
dollar manner with sable 
bands on its dolman sleeves, 
I slit to the knee just to show 
- your pretty ankles and make 
people turn around. Miss 
Stanwyck's ten-skin sable 
Jnole and gold and Topaz 
I jewelry finish things off in 
irigh style, will keep audi- 
ences busy looking at her 
in "You Belong To Me" 


In tke new... 

If You're: 



ii1 ■ p^ 

Your Hollywood Prototype Is: 

A blonde or a red- 
head who can look 
into a man's eyes in- 
stead of at his necktie 

A brunette and on the 
tallish side 


A half-pint sprightly 
blonde or redhead 

A pocket-size vivacious 


Psychologists would say 
Your Animal Prototype Is 


A swan 

■•- ' ■■■ " ' 

■ ■ 





A deer 


A kitten 


Olivia de 

■ ■' ' — 

A chipmunk 

x II r II f U/ V II I Use your head ' +ake +his to hear+ and yo 

••• ■- 11 L II U U • keep on ringing bells all through 19 


v4en Think of You As: 

he personification of 
erenity; a bit slow to 
ccept advances; poised ; 
Lire of yourself; ethereal 

oftly feminine in ap- 
earance, warm by na- 
ure, smart-as-a-whip 
alker on world events 

i small warm person 
ho's a lot of fun at a 
arty but who needs to 
e helped over curb- 
rones on the way home 

< lively little girl with 
i glint in her eye, tongue 
i her cheek and a ca- 
tacity to keep the ball 
oiling wherever she is 


Your Make-Up Pitfall Is: 

Looking too much like a 
pink-and-white pretty. 
Be sure your rouge and 
lipstick have a vivid 
orange tone in them and 
don't get a too-pink pow- 
der: you're a personality 
not a pastel painting 

Getting too dark a pow- 
der shade. Be sure your 
powder has a pink glow 
to keep you from look- 
ing too much like an 
olive-skinned gypsy 

Not having enough 
angles in your face. Try 
putting on your rouge 
in a different pattern; 
try wearing no rouge 
and using a vivid 
purple-toned lipstick 

"■" m —w — 

Not accentuating any of 
your features. Concen- 
trate on your eyes or 
mouth, make them stand 
out in your small face 

Your Personality 
Bugaboo Is: 

Probably too much re- 
serve. Smile a little 
more often and once in 
a while tell a good 
story — on yourself 

Probably being too in- 
dependent. Never argue 
too much and shun that 
"club-woman" attitude 

Probably being too much 
the "pretty girl" type. 
Try talking about the 
price of aluminum the 
next time your date gets 
that abstracted look 

— — — — ^— 

Not being able to sit 
still long enough. Turn 
into a languid lady; don't 
offer too many sugges- 
tions; relax and tend 
to your knitting and 
we do mean knitting 

Look Pretty In: 

A chantilly black 
lace blouse and 
velvet skirt at twi- 
light. Look pretty 
in anything fragile 
for that matter. 
Black is a "best" 
for you; white, a 
next best; tweeds 
something you 
wear only on hikes 


A red velvet 
beaded jacket over 
a black crepe dress. 
Wear colors, any 
and all of them; 
try bizarre combi- 
nations; let your 
zany impulses go 
when it comes to 
buying your hats 

"■ ' 

A Dublin green «£&■ 
corduroy suit and 4^\$ 
beret to match. r 
You're pretty in 
sweaters and skirts; 
you're pretty in 
pinafores; you're 
beauteous in pale 
pink — providing 
it's not too frilly 

A white jersey 
Sunday-night sup- 
per dress, made 
peasant style, em- 
broidered with gay 
flowers. Black and 
white makes you 
look sophisticated; 
a deep blue makes 
you look cute-as-a- 
button; jewel- 
toned velvets will 
start things going. 
Take your pick! 

• F 


lV > 

' 1 



' \, 

Ida's house is charming an< 
comfortable; so is her devoted 
husband Louis Hayward 



She's been telling a lot of whoppers about herself for 
ages. Now we're afraid we'll have to tell you the truth 

At fifteen (yes, fifteen!) she 
arrived with her mother (left) 
in N. Y. en route to Hollywood 
as "the English Jean Harlow" 

She looked like this so they 
said she'd be a Sex Draw. To- 
day (below) she's pre-eminent 


THE first thing people will tell you 
about Ida Lupino is that she's a 
great actress and a charming 

The next thing they will tell you 
(whomever you ask), is that Ida is 
a jitterbug, qualifying by saying that 
she dances only one step, improvised 
by St. Vitus. She has nervous break- 
downs the way other people have the 
common cold, if you listen to her 
critics, being able to work one up 
and have it before your startled gaze 
on an instant's notice. 

Ida's never thrown a nervous fit 
for us, not once during the five years 
we've known her. "Go ahead," we 
said the last time we were at the 
Haywards', "give us the works. Be 
the mad Lupino." 

"I'm not in the mood, dear," she 
said, pushing a bunch of pillows 
around behind her and settling back. 
"Life's too pleasant." And it was, 
and furthermore is for Mrs. Louis 
Hayward, whose comeback is recent 
and satisfying, whose house is charm- 
ing and comfortable, whose husband 
is amusing and devoted, whose health 
on the whole is so offensively good 
that she almost never thinks about 
it, and whose conscience is pretty 
clear about the stories she's told since 
she came to Hollywood. 

After all, Hollywood told some 
whoppers about her, .too. They said 
she was essentially a Hotcha Kid, 
around 1934, a combination of Alice 
White, Clara Bow and Jean Harlow. 
Believe us. They said she was des- 
tined to be the Sex Draw of the 

JANUARY, 194i 


generation. They said she had a 
"pert, up-tilted" nose, which is any- 
thing but the truth. Ida's nose has a 
curve, slight but indisputable. They 
said she was beautiful, which it would 
bore her to be. 

We're afraid we must tell you the 
truth about Ida, which is something 
she has almost never told anyone 
about herself. She had a good enough 
reason, though it may sound puny 
now in relation to her history. Ida's 
only mildly crazy, which is to say 
that she's too intelligent for her own 
good, has a superabundance of nerv- 
ous energy and has always — always — 
been too young . . . But then, you 
couldn't possibly understand without 
knowing the whole story. 

THE point is, she was born in 1918, 
during a seven-hour air raid on 
London, which means that she was 
not quite fourteen when she played 
the lead in Alan Dwan's premiere 
English movie, "Her First Affair"; 
which means that she was incredibly 
only fifteen when in 1933, as the al- 
ready famous "English Jean Harlow," 
she arrived on the Cunard liner 
Berengaria to take her place in Holly- 

"I'm young, I admit it," said Ida to 
the reporters. "But nevertheless I 
have crowded into my short seven- 
teen years of life a trifle more activity 
— or shall we say experience? — than 
most girls of (Continued on page 70) 





JILL LYNN — sister of the murdered 
movie actress, Vicki Lynn — and 
her fiance, Peg, the young Holly- 
wood writer who had been trapped — 
on circumstantial evidence — by De- 
tective Ed Cornell, manage to escape 
and to hide out on the Long Beach 
waterfront. Haunted by the words 
Cornell had spoken just before he 
lost consciousness from Jill's blow — 
"I'll get you sometime!" — they struggle 
along from day to day, living in fear. 
They know that even though there 
had been three people under suspicion 
— Robin Ray, juvenile actor who had 
gone everywhere with Vicki, Harry 
Williams, switchboard boy who had 
had a crush on the young star, and 
Peg himself — the facts as Ed Cornell 
would present them could condemn 

But the day comes when there is 
no food in the house, when Peg is 
forced to leave their furnished apart- 
ment and look for work. He finds 
none, but during the day he suddenly 
thinks he knows who murdered Vicki. 
His suspicions, backed by facts he 
now recalls, center on Robin Ray 
whose shaky career could not have 
stood the bad publicity that would 
have resulted from Vicki's decision, 
made just before her death, to throw 
him over for Peg. 

He rushes back to the apartment 
to tell Jill, throws open the door 
breathlessly. But the apartment is 
empty. No one answers his call. . . . 

I MUST have gone a little crazy. I 
went into the kitchenette and 
shouted her name. I walked all 
around the apartment. I was shaking. 
I'd never felt an emotion like this. I 


This was the most fantastic game 
two men and a girl ever played 



haven't any word for it. I thought I 
was going to start crying. I fumbled 
in my pocket for a cigarette. There 
weren't any. We'd run out of ciga- 
rettes as well as food. 

The apartment was so darned 
empty! I tried to think. Where was 
she? Now I saw something on the 
chair. It was her corduroy skirt and 
brown and white sweater. On the 
floor there was a little wad of tinfoil. 
I rushed to the closet and opened it. 
The green dress was gone. She was 
wearing her good dress. Perhaps 
she'd left me! Maybe she was sick of 
all this! 

I couldn't believe it. I wanted to 
go out and search the streets for her. 
But Long Beach was a big town. I 
wouldn't have had a chance that way. 
I sat as though I were made of 
stone. The wind rustled the curtains 
at the window and the radio across 
the court was going. Perhaps Jill had 
gotten a job. Maybe she had landed 
a temporary position as a clerk in a 
store. Sure, that was it. I felt re- 
lieved. I got up and paced the room. 
Maybe Jill was at the taxi dance 
trying to make money for us. The 
little fool! Would she do that? A 
thing like that? It was possible. Any- 
thing was possible. 

Only, Dear God, don't have it that 
anything happened to her. I'll do any- 
thing you say, God, only make Jill 
safe. Don't let the cops get her, God! 
Don't let that happen. I'll go to church 
every Sunday if you want, but don't 
let the cops get Jill! 

She was at the taxi dance. That was 
it. Poor sweet kid, she'd be back any 
time now. (Continued on page 61) 

It was late afternoon and 
the sun shone dimly on the 
gray stone. Jill came out, 
down the steps, into my arms 


MR. and Mrs. Thin Man think he's the nicest son they 
could find in a cabbage field; Asta thinks the same 
admiring thoughts any worthy canine has about a small 
boy, age four. 

This one is, in particular, Dickie Hall who's the Nicky, 
Jr., in the title above, the gay young blade from Brooklyn 
who's now promenading through the Thin Man series 
with Myrna Loy and Bill Powell. Hollywood — or rather, 
Tallulah Bankhead — found him playing Bach and Bee- 
thoven at three on the stage of Carnegie Hall to an 
astounded New York audience. Being a lady with a smart 
eye for promising young men, she wired the West Coast 
and they did the rest. 

The gentleman is slick. He keeps his light-brown hair 
smoothed down, practices his piano every day, endeavors 
to build up his muscles by exercise. The gentleman is 
also popular. He eats lunch with Myrna — and Lana 
Turner, when he gets the chance. But what could you 
expect from a male who at the age of sixteen months sang 
"Gold Mine In The Sky" over the radio? 

Now that you've met him, you probably think just what 
everyone who knows him does. That he's an enterprising 
businessman, a heart-melter, a guy who's going places. 

P. S.: He walks to work. 

photoplay combined xoith movie mirror 




The statement made 
after Ann Sheridan's 
suspension was not true 

Bill Holden had to fight 
violently and verbally 
to right money matters 

Here it is for the first time — the candid 
picture of the shrewd tricks, the boomerangs 
that have built — and broken — Hollywood careers 

hollering his wide, strong 
lungs out. "They talk about 
freeing the slaves, why don't they 
free Mature?" he cried. 

The cause of Vic's pain was his 
stipend of four hundred and fifty 
clams weekly. No so long ago Vic 
was living in a tent, not because he 
is wacky for tents but as a matter 
of sheer rent necessity. Thus those 
four and fifty shells laid on the bar- 
rel head looked mighty pretty until 
Hal Roach, who holds the Mature 
contract, began going around the 
corner and renting Vic out, his new- 
est rental fee being 3000 clams (or 
three thousand dollars if you will be 
conventional about it) per week for 
his labors in "Shanghai Gesture." 

'Tis often thus in Hollywood. The 
rich producer gets richer and the 
poor actor takes what he can get. The 
truth, the whole truth and nothing 
but the truth about salaries in film- 
dom is rarely even glimpsed. Come 
each March and the income tax boys 
in Washington do their bit toward 
telling the world about Claudette Col- 
bert's being the highest paid actress 
for the past three years, what with 
her tidy earnings of better than 
$350,000 each of those years. From 
the income tax lists you can see Gary 
Cooper's $5,000 weekly, and Gable 
and Lombard's supercolossal earn- 
ings, and the neat fees several of our 

JANUARY, 1942 

leading directors tote home, and those 
half to three quarters of a million 
that this producer and that earn. 
But the salaries that the "discoveries" 
gather, the why of "bonuses" after 
certain pictures, the gold that is made 
on "loan-outs," these subjects are 
never mentioned. 

Yet it is because of the "bonuses" 
and the "loanouts" and the "deals" 
that the "discoveries" try to strike 
while the box-office is hot. That was 
why Ann Sheridan got rebellious 
nearly two years ago. It cost her 
plenty. It probably cost Warners 
more. To save their pride, after keep- 
ing Annie off the screen for a year, 
they announced when they brought 
her back that they didn't increase her 
salary. Annie kept silent and let them 
talk. But the statement was not true. 
Ann now gets better than twice what 
she got before her walk-out. Yet that 
year's layoff did her harm. The 
"oomph" publicity having died down, 
she is virtually starting all over again 
and must come through on sheer act- 
ing ability, while Rita Hayworth 
walks in with the sex sweepstakes. 

Vic Mature is in that same "dis- 
covery" class, just as William Holden 
was not so long ago and before him 
Fred MacMurray and Robert Taylor 
and Buddy Rogers. The way things 
have worked out for each of these 
players illustrates much about all their 
characters, just as as the way things 

Pat Morison 
almost got 
strangled by a 
good contract 

Clark Gable's financial 
ultimatum on "Gone 
With The Wind" was 
the reason why Vivien 
Leigh was discovered 

have worked out for Linda Darnell 
versus Nancy Kelly and Brenda Joyce, 
pnd for Veronica Lake versus Pat 
Morison tells much about those vari- 
ously beautiful dolls. 

One hundred and fifty dollars a week 
was what Fred MacMurray earned all 
the way from his original click in 
"The Painted Lily" straight up until 
he made "Hands Across The Table" 
with Carole Lombard, two years 
during which he worked inces- 
santly. Fred (Continued on page 82) 




Universal view of what's happening today in Occupied 
France is "Paris Calling" with Randolph Scott as an R.A.F. 
flyer and Elizabeth Bergner as the brown-eyed beauty 
who knows all about politics — and French politicians 

ACCENT ON LOVE— 20th Century-Fox: When 
George Montgomery rebels against his life and his 
marriage that can't be dissolved because of family 
pride, he just ups and becomes a ditchdigger and 
digs until he's straightened out all his problems. 
Osa Massen, J. Carrol Naish and Cobina Wright 
Jr. are all very nice, as is Montgomery, but the 
story's too laden down with message to be very en- 
tertaining. (Oct.) 

mount: Dorothy Lamour is back again in Techni- 
color and her sarong. Jon Hall is the native who 
returns from the states with his new education to 
take over his post as ruler and marry his betrothed, 
Miss Lamour. But jealous Philip Reed has other 
ideas. (Nov.) 

ARIZONA BOUND— Monogram: A good old-time 
Western about a marshal who solves a series of 
stagecoach robberies. Three favorites. Buck Jones, 
Tim McCoy and Raymond Hatton, band together 
in this picture for some out-west shooting and rid- 
ing. (Oct.) 

BACHELOR DADDY— Universal: Baby Sandy 
gets cuter with every picture and in this one she 
makes up for a lot of unfunny episodes. Kathryn 
Adams is Sandy's mother and she sends the child 
to Edward Everett Horton, Raymond Walburn and 
Donald Woods to keep while she's involved with the 
law. It isn't very funny. (Oct.) 

y BADLANDS OF DAKOTA — Universal: 
Straight-shooting Western, with Robert Stack as 
the Easterner who marries his brother's (Broderick 
Crawford) fiancee, Ann Rutherford, which starts 
all the rumpus. Richard Dix is Wild Bill Hickok, 
Frances Farmer is Calamity Jane, and Addison 
Richards is Custer. (Nov.) 

BARNACLE BILL— M-G-M: Rough-and-ready 
fun, with Wallace Beery as an old waterfront rap 
scallion always in trouble until his daughter Vir- 
ginia Weidler succeeds in reforming him. Marjorie 
Main lends a willing hand to the process. (Oct.) 

y BELLE STARR— 20th Century-Fox: The no- 
torious woman bandit of the 1860's has been so 
whitewashed that much of the punch of the picture 
is lost. Gene Tierney plays Belle, who turns out to 
be a gently bred Southern :^irl who attempts to re- 
fight the Civil War. She marries Southern rebel 
Randy Scott and participates in his escapades until 
she finds out his cause is only a front for thieving 
and killing. (Nov.) 


y BIRTH OF THE BLUES— Paramount : In this 
good-natured, easy-going movie, Bing Crosby, a 
Southern lad, finally rounds up the first white band 
to play blues music and, through the aid of Mary 
Martin's singing, gets a hearing. You'll like every 
minute of it, the music and the cast, which includes 
Brian Donlevy and Rochester. (Dec.) 

bia: The ever-present jewel thieves are here again 
in this tired plot, with Florence Rice as a scheming 
actress who swipes the pearls from Leif Erikson and 
Gordon Jones, and then sets out to win Alexander 
D'Arcy, only to find herself in a spot. (Nov.) 

BLONDIE IN SOCIETY— Columbia: The Bump- 
steads get in a jam again when Arthur Lake accepts 
an enormous great Dane dog but promises not to 
place it in a dog show and Penny Singleton un- 
knowingly enters it in a show. It's a lot of fun. 

BURMA CONVOY— Universal: Fast-moving, 
timely melodrama about the truck caravans bring- 
ing supplies along the dangerous Burma Road. 
Charles Bickford is the leader of the truck drivers, 
Frank Albertson his younger brother, and Evelyn 
Ankers provides the heart interest. (Dec.) 

yy CHARLEY'S AUNT— 20th Century-Fox: 
'Charley's Aunt" gets funnier with every genera- 
tion. Jack Benny as the Oxford student who is 
forced to play the aunt of a fellow student is at his 
funniest. Complications set in when the real aunt, 
Kay Francis, shows up. See it for laughs. (Oct.) 

yy DIVE BOMBER— Warners: Timely, in 
formative, and entertaining is this picture about 
the experimental work of flight surgeons in the 
Naval Air Corps. A feud between Errol Flynn and 
Fred MacMurray is the framework for beautiful 
aviation shots. Alexis Smith registers as a comer, 
and Ralph Bellamy and Regis Toomey lend grand 
support. (Nov.) 

Although this is its third screen version, it's a 
gripping, compelling, interesting picture. Spencer 
Tracy as the scientist overai I every i w and then, 
I ana Turner is beautiful, but it's Ingrid Bergman 
who walks nil with the movie. I, Dec.) 

The sudden, tragic death of Laraine Day, fiancee 
of Dr. Kildarc, on her wedding day comes as a 

i'arring shock. Through the comfort offered by 
,ionel Barrymore as Dr. Gillespie, Lew Ayres as 
Kildare is finally able to return to work after his 
grievous loss. Nils Asther is very good. (Nov.) 

Columbia: Ralph Bellamy is again the famous de- 
tective who solves some murders in a hospital, but 
it's the side-splitting performance of two dumb 
bunnies, Paul Hurst and Tom Dugan, who play 
their roles straight, that provides riotous fun. (Dec.) 

Gloria Swanson's return is the biggest news of this 
picture, and it's good news indeed. She's perfectly 
cast as the stage star who retires to marry Adolphe 
Menjou, expecting a life of peace. Instead, Adolphe 
turns out to be a playboy and his son, John Howard, 
is the serious-minded one. (Oct.) 

FLYING BLIND — Paramount: Loads of noise and 
thrills and romance are packed into this thriller 
about spies and intrigue on a honeymoon air ex- 
press. Richard Arlen is the pilot who neglects his 
romance with Jean Parker until they find themselves 
in a plane with villains Roger Pryor and Nils 
Asther, and daffy bride Marie Wilson. (Nov.) 

FORCED LANDING— Paramount: Richard Arlen 
is the hero aviator of this bang-up little movie that's 
crowded with action. When enemy agents attempt 
to wreck defense constructions, Dick steps right in 
and plays havoc with them. Eva Gabor, a beautiful 
blonde newcomer, provides the love interest. (Oct.) 

When Jack La Rue is released from prison he 
returns to his brother's stock farm down South 
where he finds villainous John Holland, who origi- 
nally framed him. Marian Marsh is his brother's 
wife, and little Mary Ruth, who's an accomplished 
musician, is her stepdaughter. (Dec.) 

yy HERE COMES MR. JORDAN— Columbia: 
This is one of the most delightful and imaginative 
stories ever to hit the screen. It's all about how 
heaven makes a mistake and takes Bob Montgom- 
ery's soul before he's due to arrive there, so they 
have to find him a new body to inhabit. Edward 
Everett Horton, James Gleason and Claude Rains 
are wonderful. (Oct.) 

y HERE IS A MAN— RKO-Radio: Here's a pic- 
ture that for sheer novelty takes its place among the 
best of its kind. James Craig is the young farmer 
who sells his soul to Satan, symbolized by Farmer 
Walter Huston, and then tries to get out of his 
bargain. Edward Arnold is Daniel Webster, Simone 
Simon the devil's henchwoman and Anne Shirley 
is Craig's devoted wife. (Oct.) 

yy HOLD BACK THE DA WN— Paramount: 
Suspense, drama and love abound in this picture 
about the struggle by immigrants to enter the 
United States from Mexico. Charles Boyer is an 
immigrant who marries schoolteacher Olivia de 
Havilland in order to gain entry into the States and 
Paulette Goddard is the foreigner who attempts to 
weave Boyer into her schemes. (Oct.) 

y HOLD THAT GHOST— Universal : You won't 
care what Abbott and Costello are up to as they 
wend their way from waiters to gas station attend- 
ants to heirs of a deserted, haunted gambling house, 
because they're man-sized panics all the way through 
the hilarious nonsense. (Oct.) 

Very funny in spots is this Leon Errol comedy, 
with Errol inviting the Vice-President of the U. S. 
to a party and three phonies plus the real V. P. 
show up. (Oct.) 

KID FROM KANSAS, THE— Universal : A 
blight, sabotage, and all kinds of trouble hit the 
banana plantation of Leo Carrillo; and Andy Devine 
and Dick Foran receive the blame for it all until 
Foran escapes from jail and uncovers the real 
rascals. A lot of action is mixed up in the story 
and the trio of actors do right well. (Dec.) 

This famous stage play is superbly translated to 
the screen with a never-relaxing suspense. Ida 
Lupino is mainly responsible for its compelling 
quality of repulsion and sympathy, as the com- 
panion who ruthlessly murders to provide a home 
for her mentally ill sisters. Louis Hayward, too, 
rates honors, as does Evelyn Keyes as the maid, 
and Edith Barrett and Isobel Elsom. (Dec.) 

yy LADY BE GOOD— M-G-M: It's a parade of 
star personalities through a Gershwin musical, with 
Ann Sothern and Robert Young as a song-writing 
team who hits the divorce courts twice before things 
work out. Eleanor Powell. Dan Dailey Jr., Lionel 
Barrymore, Red Skelton, John Carroll and others 
all add to this big-time musical. (Oct.) 

LADY SCARFACE—RKO Radio: Packages of 
money mailed to a New York hotel and picked up 
in error by honeymooning Rand Brooks and Mildred 
Coles motivate a lot of chasing around. (Oct.) 

M-G-M — Andy grows up the hard way when he 
takes a fling at earning his own living in New 
York; and hunger, a golddigger, and the tragic 
death of a friend teach him a much needed lesson. 
Mickey Rooney is tops as Andy, as is Judy Garland 
as the annoying girl friend. Pat Dane and Ray 
McDonald rate plenty of raves. (Nov.) 

photoplay combined with movie mirror 

Radio: An Academy Award contender is this grip- 
ping tale. Bette Davis as the ruthless Regina holds 
her own with such members of the New York stage 
cast as Patricia Collinge, Charles Dingle and Dan 
Duryea. Herbert Marshall is perfect as the sick 
husband and newcomer Teresa Wright is a coming 
star. (Nov.) 

Laughs follow one after the other in this un- 
sophisticated comedy about a radio entertainer, 
Edgar Bergen, who with Charlie McCarthy lands 
in a small town where he helps Fibber McGei md 
Molly defeat a couple of lancf sharks. Lucille Ball 
and Neil Hamiton add to the fun. (Dec.) 

<S\/ LYD1A — Korda-U.A. : Different, fascinating 
and heart-warming is this flashback review of the 
suitors in one woman's life. The men who loved 
Merle Oberon but failed to win her are Joseph Cot 
ten, George Reeves, Hans Yaray and Alan Mar 
shall All give fine performances. (Nov.) 

y MANPOWER— Warners: George Raft and Ed- 
ward G. Robinson are tough power line repairmen 
who fight it out for the affections of B girl Marlene 
Dietrich. When Marlene's father is killed, Robin- 
son marries her, but she falls in love with Raft. The 
power line repair scenes are excellent. (Oct.) 

When Leon Errol has a little war orphan brought 
over from Europe, he hopes it will fix things up 
with the troubled marriage of Lupe Velez and 
Buddy Rogers. The baby turns out to be a glamour 
girl, but the story gets duller and unfunnier. (Dec.) 

MR. CELEBRITY — Producers Releasing Corp. : A 
young veterinarian. James Seay, takes his nephew, 
Buzzy Henry, to Celebrity Farm to hide out from 
his grandparents and so retain his custody. There 
he encounters Francis X. Bushman, Clara Kimball 
Young and Jim Jeffries, who'll bring you nostalgic 
memories. It's sentimental, but lively and heart- 
warming, and young Buzzy is outstanding. (Dec.) 

though this thriller has the same old plot of heirs' 
trying to get a millionairess declared insane, it's 
fast-moving and suspenseful. Wallace Ford is the 
columnist who solves the murders and Marian 
Marsh is his assistant. (Oct.) 

Light, sophisticated comedy about a husband's ef- 
forts to keep his wife from eloping with various 
admirers, including Gilbert Roland and Reginald 
Gardiner. Anna Lee is the fiuttery, attractive wife, 
although why she should want to leave husband 
Ronald Colman is beyond us. (Oct.) 

\/ NEW WINE — Gloria Productions-!'. A.: Alan 
Curtis plays composer Franz Schubert who is aided 
and encouraged by Ilona Massey. Although the 
story is inconsequential, the glorious flood of music 
and Ilona's beautiful singing of the "Ave Maria" are 
well worth your time. Albert Basserman contributes 
a memorable scene as Beethoven. (Oct.) 

\S NEW YORK TOWN — Paramount: Fred 
MacMurray, a sidewalk photographer in New York, 
shows naive New Englander Mary Martin how to 
live off the town. But when he tries to marry her 
off to prosperous Robert Preston, he learns that all 
the best things in life are free. Akim Tamiroff and 
Lynne Overman aid MacMurray in this enchanting 
comedy. (Nov.) 

NIAGARA FALLS— Roach -U. A.: In spite of Slim 
Summerville and Zazu Pitts' determined comedy 
efforts as the honeymooning couple who come to 
Niagara, the picture's not funny. Slim neglects his 
bride to meddle in the affairs of quarrelsome Tom 
Brown and Marjorie Woodworth. (Dec.) 

In spite of its bewhiskered story, Bob Hope makes 
this picture a laugh-provoking winner. He bets 
$10,000 of Paulette Goddard's money that he can 
tell the truth for twenty-four hours. Howls of 
laughter are the result. (Nov.) 

Rochelle Hudson is a pretty schoolteacher who re- 
fuses to marry Bruce Bennett for fear he'll be 
killed in a gun battle. He almost is, too, when gang 
ster Sidney Blackmer escapes from prison. (Oct.) 

\/ OUR WIFE — Columbia: All about one husband, 
Melvyn Douglas, and his troubles with two women, 
one an ex-wife, Ellen Drew, and the other his fiancee, 
scientist Ruth Hussey. Charles Coburn is Ruth's 
father, also a scientist, and John Hubbard her non- 
scientific brother. It's got a lot of laughs. (Nov.) 

01 I LAWS OF THE DESERT— Paramount: The 
Araban desert background of this colorful and 
::il Western is vivid and exciting and the 
'cries of adventures that involve Bill Boyd as 
//. palong ( assidv and his pals, Andy Clyde and 
Brad King, provide fast-moving entertainment. 

OUTLAW TRAIL. THE— RKO-Radio: Intend- 
ing to aid in a bank robbery, young Tim Holt turns 
hero instead when he a ds the marshal in catching 
the robber band and when the marshal dies, Tim 
takes over his job and stays a good boy from there 
on it. Fans are sure to like Tim. (Dec.) 


JANUARY, 1942 

interestingly done movie of (hose lads who leap from 
planes in Uncle Sam's behalf. All sorts of boys 
who enter the service are revealed in the unfolding 
of the story, including Robert Preston as the cocky 
recruit and Edmond O'Brien as the boy who fears 
fear. Nancy Kelly is the girl. (Oct.) 

PITTSBURGH KID, THE Republic: The usual 
prize-fight picture, this, relieved in its mi m ti m us 
plot by the casting of Jean Parker as the manager 
of fighter Billy Conn. You're going to bi 
surprised at Billy, who's not half bad as a screen 
personality. Jean's a cuti trick, too. (Dec.) 

REG'LAR FELLERS— P. R. C. : The cartoon- 
strip characters, plaved by Billy Lee, Alfalfa 
Switzer and Buddy Boles, are back again for an- 
other series of fun. It's a picture for kids. (Nov ) 

RINGSIDE MAIS1E—M.GM: Weakest in the 
series is this installment, with Ann Sothern as the 
good-hearted taxi-dancer, Maisie, who meets up with 
prize fighter Robert Sterling and his suspicious 
manager, George Murphy. Young Sterling takes 
over most of the picture and there's not nearly 
enough of Maisie. (Oct.) 

mid-RKO: Scattergood Baincs. the smalltown Mr. 
Fix-it played by Guy Kibbee, helps William Henry, 
the village playwright, outwit Frank Jenks and 
Bradley Page and present a smash Broadway suc- 
cess. Its homey flavor is .embellished by some 
bright comedy and corny but good gags. (Nov.) 

SING ANOTHER CHO R US— Universal : Johnny 
Downs, aided by Jane Frazee, tries to get his col- 
lege show on Broadway, but villainous Walter 
Catlett and his voluptuous co-worker, Iris Adrian, 
throw a monkey wrench or two into the works. 
The music is fair. (Dec.) 

SKYLARK — Paramount: Claudette Colbert is the 
dissatisfied wife who leaves her devoted husband, 
Ray Milland, because his business entanglements 
prove too annoying, but that's a silly premise for 
this day and age. Brian Aherne is miscast as the 
other man in her life, but Milland and Walter Abel 
win our hearty approval. (Dec.) 

L/' SUNDOWN — Wanger: Sustained action is the 
keynote of this story of a British government out- 
post m Africa. Bruce Cabot as Commissioner of the 
post steals most of the honors, and George Sanders 
also shines, as does Gene Tierney as the beautiful 
half-caste. Reginald Gardiner, as usual, went along 
for the laughs. (Dec.) 

Fox: Sonja Henie is a Norwegian refugee adopted 
by band player John Payne, who's in love with 
Lynn Bari, the band singer. When the orchestra 
goes to Sun Valley, Sonja goes along, determined 
to marry John. Sonia's enchanting and her skat- 
ing numbers are excellent. (Nov.) 

yy SUSPICION— RKO-Radio: A triumph of 
direction and acting is this emotional, suspenseful 
masterpiece about a naive English girl, Joan 
Fontaine, who falls in love and marries Cary Grant, 
only to discover his worthlessness. Then dread and 
suspicion enter their lives and desperation brings 
on fearful consequences. (Dec.) 

TANKS A MILLION— Hal Roach-U.A.: Running 
about fifty minutes, this small-sized panic is all 
about a draftee, a former railway information clerk, 
William Tracy, who annoys his superior officers by 
spouting from memory long passages from the Army 
manual. James Gleason is the enraged officer and 
Elyse Knox the eye-filler. But it's Private Tracy's 
picture. (Nov.) 

THIS WOMAN IS MINE— Universal: Lus- 
cious Carol Bruce is a stowaway on a trading ves- 
sel during the 18th Century with John Carroll, 
Franchot Tone anil Walter Brennan all on the ship. 
The only exciting moments in the picture are the 
last scenes depicting the conflict between the Indians 
and the white men. Otherwise it's completely un- 
inspired. (Nov.) 

TILLIE THE TOILER —Columbia: First of a 
new series, this introduces Kay Harris, who is pert, 
pretty and talented and makes an ideal Tillie. Wil- 
liam Tracy is Mac, Jack Arnold the smug Mr. 
Whipple, and Daphne Pollard Mumsy. It flounders 
around a bit due to poor writing and direction, but 
give lillie time. (Nov.) 

ger Rogers is the little telephone operator whi 
choose between three suitors, business genius 
George Murphy, zany, poverty-stricken Burgess 
Meredith and rich Alan Marshall. Ginger dreams 
of her future with each and her dreams are price- 
less fun. You'll love it. (Oct.) 

lumbia: Trite, corny and uninspired is this story of 
a night-club press agent, Joan Davis, wdlo substitutes 
her roommates Jinx Falkenburg and Joan Wood 
bury, a song and dance team, for two Cuban 
tainers who failed to arrive. () i ihing 

gets very complicated. (Di I 

You'll undoubtedly enjoy this gay movie about 
smalltown girl Irene Dunne who meets and falls 
in love with debonair Preston Foster who promptly 
forgets her. Out of spite she marries his brother, 
Rob, it Montgomery, but she can't forget Fo ter, 

who is the outstanding performer of this picture. 

\S 111- 1 IN IIAU.U Century- 

Fox: Frothy, gay and tuneful is tin- typical Zanuck 
musical, pleasing to the cms and ears. The 
featherweight | New York shop girl Alice 

Faye enjoying a Havana vacation at the 
i .i teamsni] com] ny and a roman 
executive John Payne. Carmen Miranda's 
in hoi pepperish .md Cesar Romero is her flirta- 
tious manager. (Dec.) 

studded picture, (his, smart and entertaining. 
Robert Taylor is in love with authoress Joan Craw- 
ford who is in love with publisher Herbert Marshall 
who is married to Greer Garson with obvioi 
plications. Both (he girls do splendid jobs, but Bob 
Taylor walks away with every scene. (Nov.) 

1/ WHISTLING I\ i ill' DARK M-G M 

M G M's new priz< comedian Red Skelton is intro- 
duced to you in this comedy, and Skelton proves 

himself a prize indeed as (he radio crim 
writer who's kidnapped by Conrad Veidt in order 

a perfi i ■ nine for Mr. Veidt. U 
we admit, but it's funny and gay. (Nov.) 

WILD GLV.SI CALLING— 20th Century-Fox: 
Henry Fonda is the boy with wanderlust who 
mills Joan Bennett, waterfron! chorus girl, and 
marries her. But he follows disreputable Warren 
William to Alaska and meets disillusionment before 
he finally finds contentment. It's slow and aimless 
and dull, and loan Benmtt is thoroughly miscast. 

WORLD PREMIERE— Paramount: John Barry 
more is a movie producer who takes the cast of 
his movie, including Ricardo Cortez as the star 
and Virginia Dale the heroine, to Washington for 
the world premiere. A couple of saboteurs ^r: 
mixed up with the troupe, but Barrymore happily 
believes it all a publicity stunt. It should be funny, 
but it turns out to be very unfunny. (Nov.) 

\/ YANK IN THE R.A.F.. A— 20th Century Fox: 
An exciting and timely show, with Tyrone Power 
as the fearless, cocky American who joins the 
R.A.F. and woos night-club dancer Betty Grable on 
the side. The scenes in the R.A.F. provide tre- 
mendous interest, and Reggie Gardiner and lolm 
Sutton are very good. (Dec.) 


All that glitters is not gold; sometimes 
it's tinsel, as is the case of Christmas 
Girl Constance Moore. That gleam in 
her eyes probably came from being 
gifted with presents like those wished 
for by Laraine Day on page 34 


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Three Anchors ashtray $ I a pair. 
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FOR HIM: He'll wear his initials 
with pride if you give him Artisto- 
gram's gold-plated cuff links by 
Swank. They cost $1.50 a pair at 
leading stores or Wanamaker's, N. Y. 

Things I Wish Men 
Would Do 

(Continued from page 44) as men are 
to the unfair skin and rundown heels the 
ads are constantly reminding us about. 
They want us to be fastidious — why not 
return the compliment? It's like the re- 
mark May Robson once made about 
Douglas Fairbanks Jr. '"He could be a 
castaway on a desert island and he'd still 
honor any co-castaways with his neat- 
ness . . . even if he had to de-whisker 
with a pickax!" 

My next wish has to do with the mem- 
ory of an evening a group of us enjoyed 
so immensely — when Charles Boyer or- 
dered dinner. Perhaps it's because he has 
a Frenchman's flair for fine food but 
everything about the meal was so right. 
If only all men had the same knack! 
"What if the earth is topsy-turvy," said 
a fellow-guest, "there's no moratorium 
on good cheer and good eating while 
Charles is around!" 

Fourth Wish: That men would show 
more appreciation and not take for 
granted everything you do to please 
them. It's funny about women. Nothing 
is too difficult for them if a man really 
values what they do. There's an old 
couple living in the Valley, for example, 
who have never had much money. But 
contentment rests in that place almost 
visibly. "In all the years we've been 
married," the wife told me one day when 
I stopped to get eggs from them, "he's 
never forgotten to say 'thank you.' No 
matter how small the thing is I do for 
him. I've worked hard in my time. But I 
never minded because he appreciated so 
much what I did." And that's the answer 
to a lot of happiness for a woman. 

I WISH men would take the trouble to 
■ grow up. In their ideas, their customs. 
There may be a certain boyish appeal 
about the perennial sophomore, but no 
girl wants to spend the rest of her life 
being his rooting section! He's bounded 
on the north by the stock market and on 
the other three sides by golf, poker and 
the paper. That is as far as his vision 
goes, until he decides to be adult. Then 
he looks beyond himself and discovers 
the world! 

Wish No. 6 depends on a man's being 
mentally matured. (If he isn't, it's just a 
waste of time!) This is it: That he'd 
go on the assumption that women have 
an opinion of their own, especially on 
outside affairs of importance. Such as 
Fredric March does, for example. At a 
reception recently, a politician and his 
wife were talking to Freddy. That is, the 
politician was talking until Freddy ma- 
neuvered the conversation around so the 
wife had a chance. He drew her out, 
listened attentively. What she had to say 
was brilliant and thought-provoking. Her 
husband heard her with amazement. 
"Why, those are good ideas," he admitted. 
"And I never knew you had 'em!" 

"You never bothered to find out!" she 

Perhaps it all sums up in the seventh 
wish — to have the whole male contingent 
put chivalry back on earth. Most men 
act as if they had the vitality of a ven- 
triloquist's dummy when it comes to 
everyday acts of courtesy. Taking off 
their hats, rising when you enter a room, 
offering to light your cigarette and re- 
membering to open and shut a car door. 
They'll ask you to dance when they can't 
dance — except on your feet. After all, it 
isn't the dragons a man slays that matter. 
It's the little things he does that make 
a girl want to keep her nose powdered! 
The End 

photoplay combined u-ith movie mirror 

(Continued jroin page 54) We would 
have fun when she got back. It wouldn't 
even matter if we didn't eat. Just so 
she was here. There was no night with 
Jill and no darkness. You can love a 
woman and it's like that. I love every- 
thing about her. She'd come in and I'd 
laugh. I'd say, "Hello, honey. Gee, you 
look swell, honey!" 

I sat down on the bed and laid the cards 
out in a game of solitaire. But I couldn't 
play. It was getting late. Where was 
she? I got up and went to the window. 
Where are you, Jill? 

I could stand it no longer and I left the 
apartment and went out on the street. 
The main avenue was a quarter of a block 
up and this street was dark and empty. 
I leaned against a big palm tree. 

I stood there very quietly against the 
tree. I don't know how long I was there. 
Suddenly I was aware that a car had 
slid up to the curb and stopped. It was 
a radio patrol car! 

The cops in it didn't see me there in 
the dark. They were staring into the 
court. My heart began to hammer. Why 
were they here? What were they doing? 

The cops didn't even glance my way. 
I began to make out what they were 

"See anything?" 

"No. This is a pain in the neck — hav- 
ing to check back here every hour." 


"They had a detective in there until 
six o'clock. If he was coming back he'd 
have been back before then." 


"Like the girl said — he must have 
shipped aboard that foreign tanker that 
left last night." 

"Yeah. He was the kind of a heel that'd 
do that — take a powder on the girl. Say 
— the lights are on in that apartment!" 

"He must have come back. Come on!" 

They piled out of the car and rushed 
into the court. Sweat was rolling off 
my body and for a moment I couldn't 
move. Jill's arrested! Jill's arrested! I 
heard it over and over. It was a scream- 
ing that echoed in my head. 

I BEGAN to run. I ran up the street, 
■ cut through back yards. I ran down 
another street, then I got into an alley. 
In the alley I stopped running. 

I walked. I walked along the dark 
streets and on the bright ones. I walked 
through the park on Ocean Avenue and 
sat under the city lights. In a big wire 
trash barrel I found a newspaper. 

The headlines were big and black. Jill 
Lynn arrested. Police close in on fugi- 
tive hide-out. The paper said I had de- 
serted Jill last night and gone to sea on a 
tanker bound for Brazil. 

I read all the details carefully. The po- 
lice had worked on the theory that we 
were somewhere in Long Beach. First 
they had painstakingly checked all re- 
cent hotel registrations. This job alone 
had taken almost three days. After that 
they had begun checking tenants who had 
rented apartments recently. They had 
third-class detectives all over town do- 
ing this and in the course of the sur- 
vey one of them had come to our 

Jill had been calm. The paper report- 
ed her only emotion had been one of 
bitterness. The money had run out and 
I had left her. The woman scorned. She 
was apparently ready to talk. They 
played that up big. 

She was to be charged with aiding the 
escape of a fugitive from justice, and 
assault with intent to kill on an officer 
of the law! 

That was Ed Cornell's touch. He knew 

JANUARY, 1942 

I Wake Up Screaming! 

as well as I did that she hadn't intended 
to kill him! 

There were pictures of the corduroy 
skirt and the sweater which were of no 
material value and had been left for the 
photographers. The tinfoil I'd seen had 
been from an exploded flashlight bulb! 

I skipped over all the rest. It didn't 
matter Jill had lied to protect me. She 
had kept her head and put on a wonder- 
ful show. All for me! 

I thought of Ed Cornell. The way 
he had watched me. The way he had 
tormented me for weeks. Now he was 
spewing his bitterness on Jill. Assault— 
with intent to kill! 

I dropped the paper. I began to walk. 
I was cold with hatred. I was scarcely 
conscious of anything else. I was going 
to Los Angeles. I was going to steal a 
car from a parking lot and go to Los 

I HAD parked the stolen car and for a 
' long time I stood there on the hill and 
watched Robin Ray's house. 

Then I moved silently across the road 
and my shadow was pale in the moon- 
light. I reached the side of the house and 
began to climb up along the stones. I 
made no sound at all. When I was at the 
window I slashed down at the screen 
with a jagged piece of rock. It tore and 
I jammed my fist in and unlatched it. 

I crawled through the window into the 
room. Robin was stirring on the bed. I 
grabbed the floor lamp and put it on di- 
rectly oyer him, so it would show down 
on his face. He was waking up. 

Burning up celluloid in Fox's "Hot Spot" 
are Betty Grable and Vic Mature, 
performing as their fiction models, 
Jill and Peg, of Photoplay-Movie 
Mirror's "I Wake Up Screaming!" 

"Don't move," I said. 


"If you move I'll kill you!" 

"Who is it?" he said. 

I told him. 

It was half a minute before it hit him. 
Then he was wide awake, trying to look 
past the light and into the darkness at 
me. Robin was washed out. His eyes 
were bloodshot. 

"Mind if I light a cigarette, old man?" 
he said 

"You won't need one." 

He was motionless. 

"I'm going to ask some questions," I 

"Sure. Go ahead." 

"I want the answers, Robin!" 


He was rubbing his mottled skin. Ap- 
parently he was able to see me now. 

"That day of the murder," I said, "you 
picked up Vicky Lynn outside her agent's 
office on the Sunset Strip." 

"That's right." 

"How come you never told the police?" 

"I didn't at first because I figured it 
would have put me under suspicion, and 
it would have." 

"What do you mean by at first?" 

"They found out later," he said. 

"Who found out?" 

"Ed Cornell." 

I was jarred. "Then you told him?" 

"I didn't have to tell him — I wish you'd 
let me have a cigarette — he found out by 
himself. You see, Vicky and I had an 

"About her leaving you?" 

"Yes. She was tossing me over for — 
for you." 

"Go on." 

"We had this argument. It meant a lot 
to me. Publicity angles and all that." 
He changed to the other elbow. "I lost 
my head. I began to yell at her and I 
didn't look where I was driving. I ran 
into a guy. No damage, except the bump- 
er and windshield. The windshield shat- 
tered. Cornell found out about that and 
deducted the rest." 

CD CORNELL had never told me this. 
I- Yet I remembered he had not accused 
me of having picked her up on Sunset — 
which had been the first police theory: 
He had stated I was waiting in the apart- 
ment when she came in. I was sick that 
Cornell was so far ahead of me; that 
these things which I had figured out he 
had known weeks ago! It was like a 
terrible race between us. 

"You didn't hit her in the car — and kill 
her 9 " 

"Good heavens, no!" Robin said. 

"After the accident what happened?" 

"I took her home. She didn't have the 
key to her apartment. She said she 
usually got a passkey from the boy at 
the desk. But the switchboard was 
jammed and the boy was gone." 

"What did you do?" 

"She said she knew a way to get in. 
We went upstairs, then out on the fire es- 
cape and crawled in the living-room win- 

I was stunned. His explanation was as 
good as mine, even better. "Go on," I said. 

"That's all. In the apartment we 
argued some more — and I left." 

"Was Harry Williams downstairs when 
you went out?" 

"No — the switchboard was empty." 

I moved a little closer. "Isn't it true 
that after you and Vicky were in the 
apartment you lost your temper and hit 
her? You hit hex - — and you had that big 
metal ring on your finger. I haven't seen 
the ring since." 

"Haven't you? Let me get up and I'll 
get it." 

"All right." 

I moved back and he got out of bed, 
crossed the room in his pajamas and 
opened a dresser drawer. He took out 
the ring and tossed it to me. 

"If I killed her that'd be Exhibit A— 
the weapon of murder. So — I make you 
a gift of it!" 

I turned the ring over in my hand. 

"Would I do that," he said, "if I were 


I couldn't speak. 

"I appreciate what you're trying to ac- 
complish," he said. "Personally, I never 
did think you were guilty. None of us 

I started for the window. "I'm sorry I 
bothered you." 

"It's all right. Need any dough?" 

"I could use some," I said. 

Robin picked up his wallet, flipped it 
open and took out all that was there. It 
amounted to forty dollars. 

"Good luck," he said. 

I drove the car down around the hills 
and on to Cahuenga. I kept driving. I 
meant to turn back but I kept driving. 
San Fernando fell behind me. The car 
ate up the black asphalt highway. My 
mind was turning the whole thing over. 
There were two of Ed Cornell's clues 
that bothered me. Vicky's shoe some- 
body had stood on and crushed. The 
cigarette that had been smashed out in 
the closet. Somebody had been hidden in 
the closet when she and Robin came in. 
Who? It had narrowed down to this. 
The answer of this one question con- 
tained the solution. I was suddenly pos- 
sessed with the notion that I knew it. 

THE town of Doris in California is near 
' the state line. It is a small town, and in 
the hotel where I had a room it was very 
hot. But I didn't spend much time in the 
hotel. Through the long days I stopped 
every person I met and asked endless 
questions. I didn't look at newspapers. 
I didn't want to know what they were 
doing with Jill. I couldn't stand to know. 

At the end of the first week I found 

It was on a Saturday night and it was 
raining very hard. He lived in a ranch 
house ten miles out of town. I stood 
there at the door and rapped my knuckles 
against it. After a long time the door 
opened and a woman peered out. She 
was withered, but very hard, with sharp, 
ugly little eyes. 

"What is it you want?" 

"I came to see Bill Hunter." 

"Who are you?" 

"I'm a friend of his from Doris." 

She opened the door. "Come in, then. 
He's there in the living room." 

I came in and she closed the door. He 
was sitting next to an open fire. He 
turned and looked up at me. 

"Hello, Harry Williams," I said. 

He stared at me. The old woman was 
his aunt and she was saying: "William 
gets in a lot of trouble at the pool room, 
don't you, William?" She talked to him 
as though he were not quite bright. But 
suddenly it struck her that I had spoken 
his real name, and she turned to me. 

"What did you call him?" 

"Harry Williams." 

"But he's not! How foolish! He's — " 

Harry Williams was on his feet. The 
big yellow eyes behind the thick-lens 
glasses were horrible. 

"Harry, who is this man?" she de- 

"He's from Hollywood," Williams said 

I watched him. "You killed Vicky, 
didn't you?" 

He didn't speak. 

"It was like this," I said. "When Lanny 
Craig left — you went back into the apart- 
ment to wait for Vicky." 

"Yeah," he said. 

"But you saw her coming in through 
the fire escape and Robin was with her. 
You weren't supposed to be hanging 
around in her apartment and you got 
scared. It was too late to make a break 
for the door — they'd have seen you. So 
you beat it into the bedroom. You hid 
in the closet! You smoked a cigarette in 
there and stood on one of her shoes." 


"Yeah — yeah." 

"You heard her and Robin arguing. 
You heard the door slam when Robin 
left. You came out of the closet — " 

"CTAND clear, Harry!" 

^ I turned. The old woman had a shot- 
gun leveled at me. Harry saw it. 

"No! Don't! I'm not afraid." 

She lowered the gun but it was still 
pointed at me. 

"Go on," Harry Williams said. "When 
you're through — there's something I want 
to say." 

"You came out of the closet. Vicky 
saw you and screamed." 


"You were in love with her. You knew 
she'd signed a movie contract — was going 
to leave the apartment — " 

He nodded; now he began to talk. 

"Yeah. She screamed, and yelled at 
me to get out. Her screaming got me 
excited. I went a little crazy maybe — 

Latest figures on the Broadway strip- 
teaser Ann Corio: She's making news 
in the newest Producers Releasing Cor- 
poration picture, "Swamp Woman" 

listen, here's what I told her — I swear I 
said, 'Vicky, you're going away. I want 
just one little kiss!' That's what I said." 
He was almost sobbing. "I only wanted 
one little kiss! But she kept screaming. 

"I had that big iron key ring," he went 
on, "the ring with passkeys; I had it 
in my hand. I don't know what hap- 
pened. I must have hit her. She went 
limp in my arms. Her eyes fluttered 
closed. I ran out of the apartment. I 
got a freight train — I came back here to 
Doris. They hid me. We changed my 
name. You see — you see — " 

The old lady slammed the shotgun 
down across the table. She wasn't going 
to use it. "Harry, you're a fool!" 

"What's the difference?" he said. "The 
cops figured this all out. They just said 
lay low and don't talk about the murder. 
They understood how it was. This guy'll 
understand, too — " 

"What was it you said?" 

"I said the cops, they — " 


"Well, no — just one detective, by him- 
self. I suppose he told the others how it 
was. He was a guy from L.A.. this 

detective. His name was — " 

It was noon. In Los Angeles the traffic 
was thick on the streets and the side- 
walks were crowded with people. I was 
in an old hotel. I knocked at the door 
of a room. Then I went in. 

Ed Cornell looked up. 

"Hello, Operator Thirteen," I said. 

He wore white pajamas. In the shadow 
that fell across the room from the win- 
dow his face was long and evil. He had 
cards laid out in a game of solitaire. His 
face was jaundiced, sickly — and I knew 
somehow that he was on his last legs. 

There were six different pictures of 
Vicky around the walls. They were large- 
size. In four of them she seemed to be 
looking at you. I felt cold. 

I remembered all the things Ed Cor- 
nell had said. Harry Williams couldn't 
be guilty. Jealousy was the only strong 
motive. Jealousy. Rank, bitter hatred. 
The blind obsession of a man about to die. 
With each day his hatred for me had 
grown. It was very clear now. 

For weeks he alone had been fully 
aware of the fact that Harry Williams 
was the murderer! 

It didn't matter! He arrested me for 
the murder while Williams' confession 
still rang in his ears! He knew what he 
was doing. It was not the law I was 
fleeing — but him. He had trumped 
up a case, manufactured evidence. 

And all the time he knew that Harry 
Williams was guilty. 

It was only in the very beginning that 
he must have honestly believed I was 
the killer. He was too good a detective 
to hold that opinion long. 

I HAD heard Vicky say months ago that 
' Harry Williams had complained about 
his job and said he could always get em- 
ployment in Doris, California. He was 
not overly bright but he realized that the 
police would find his home address with- 
out difficulty. 

The place in Doris was an ace up his 
sleeve; and this only because his cousin 
had recently dropped him a card to the 
effect that fruit pickers were needed up 
there. Probably a hundred such cards 
were sent out to every address the cousin 
could find. When the fruit is ripe, or a 
week or so earlier, certain ranchers do 
this. But for Harry Williams it was 
obscurity. He went to Doris, was wel- 
comed by a shrewd, mean and lonely 
old woman. 

Ed Cornell, with only one possible clue 
— the post card from Harry's cousin, 
which might have been left in his room 
the night he fled — had journeyed alone to 
Doris, discovered Harry without diffi- 
culty, and heard his confession. And for 
what must have been the first time in 
Cornell's life — turned his back on a mur- 

Cornell gambled on the chance that no 
one else would ever find Williams. At 
least, until after I'd been hanged. If he 
was discovered then — by accident some 
day — it was of no importance. Ed Cornell 
knew that his own days were numbered 
and he cared nothing for the fact that it 
would be revealed he had deliberately 
sent an innocent man to the gallows. But 
he wanted first the satisfaction of seeing 
me hang. His was the most fantastic 
game in the world: he wanted to commit 
a legal murder! 

Even now. with my appearance in this 
room, he labored under the impression 
that his plans were moving with flaw- 
less precision. He imagined that he had 
cornered me — that I was in a trap from 
which there was no possible escape. 

He laid the card down now. He sat 
very still. I heard the sound of the 
clock: and I could hear the downtown 
traffic. He (Continued on paae t'4 

photoplay combined with movie mirror 

The Light of Freedom 

Strange and prophetic, the words of Sir Edward 
Grey, and full of meaning for Americans. 

For the lamps of America are not going out — now 
or ever. The lights of America must continue to shine, 
not only as a symbol of our own freedom, but as a 
beacon of encouragement to those countries whose 
lights have — temporarily — been blacked out by the 
totalitarian scourge that threatens so much of the world. 

For two years, we have urged all America to unite 
in a Night of Light on Christmas Eve as a symbol ot 
our belief in the permanence of the Light of Free- 
dom that we in this country enjoy. 

For two years, Governors and Mayors have issued 
proclamations, patriotic organizations of all kinds 
and descriptions have given it their backing. 

For two years America has been a blaze of light 
on Christmas Eve. 

This year, more than ever before, it is important that 
we Americans re-examine our beliefs; rededicate our- 
selves to the traditions that made us and the tasks 
that confront us. 

So again we ask, as a means ot symbolizing our belief 
in the light of freedom and democracy, that we light 
every lamp in America on Christmas Ei>e. Doing this 
depends on everyone — on you, and you, and you. 

Will you, whether you can light a single candle 
or throw the master switch of a whole factory, 
Will you turn on the lights? 

Will you, if you live in a community ivhere 
defense requirements make this inadvisable, 

Will you light at least one lamp to join in 

spirit in this symbol of freedom 1 

The lights of America must never go out. Will you 
turn on yours this Christmas Eve? 

JANUARY, 1942 


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(Continued from page 62) spoke, as 
though he were talking to the cards. 

"Come to give yourself up. I suppose 
you want to make a deal — you'll sur- 
render if I let the girl go." He looked 
at me coldly. "Well, it's no good!" 

I did not move. 

"You'll excuse me if I don't get up," 
he said. "The doctor's got me in bed. 
But you wouldn't be interested, would 

"I was talking to Harry Williams," I 

His face was expressionless. But his 
eyes went chill. 

"I heard the confession," I said, "and 
you heard it — weeks ago, and yet — " I 
could feel Vicky's eyes staring down. 
"You were still determined to hang me." 

The room was silent. He began mixing 
the cards. Suddenly he leapt from the 
bed and toward a table. I grabbed him 
and slammed him back across the bed. 
The moment he fell he was seized with 
a fit of coughing. He lay there, that 
cough racking his throat. His police gun 
was on the table. He hadn't reached it. 
i didn't go near it. 


"Nothing," I said. "There's no words. 
It's over. I'm released. The game be- 
tween us is finished." 

He just watched me. I turned. One 
by one I ripped the pictures of Vicky 
from off the wall. I tore them into bits. 
Then I leaned back against the dresser. 
I was breathing hard. 

His eyes dropped. He looked at his 
hands. He was sitting on the edge of the 
bed, his pajamas hanging loose on his 
thin body. 

"Call the D.A.," he said. "Tell him to 
come over here." 

|_j OW do you say The End? What are 
' ' the words you use? For there is no 
end, really. There are simply episodes, and 
all of the episodes put together make one 
lifetime. It's rather wonderful! I re- 
member I could not end the first play I 
wrote because I felt the drama was but 
a particle of the Jives of the people in it, 
and they should go on. I cannot end this. 

Ed Cornell told the whole story to the 
District Attorney and Jill was released. 
Ed Cornell did not elaborate. 

He offered no excuse for himself, £. .d 
I made no charge against him. Two 
weeks ago he died of tuberculosis in a 
sanitarium in Arizona. Harry Williams 
was arrested in Doris, California, and 
sentenced to life in San Quentin. 

So the end did not come violently. 
It was all gradual. The Williams trial. 
The death of Cornell. And that day in 
Santa Barbara when Jill and I were mar- 
ried in an old Spanish mission. There 
are so many things! The opening of my 
first picture, "Winter In Paris," and the 
nice house beside the sea where Jill and 
I live. All of these things have become 
reality, but if this were a screen play 
I think I'd go back — back to that day 
Cornell confessed — and write the fade- 
out with the scene of Jill's release from 

It was late afternoon, and the sun shone 
dimly on the gray stone steps. Pigeons 
strutted up and down, and people were 
coming and going. Jill came out, wearing 
a green skirt that was tight on her hips. 
and the sandals with red cork heels. She 
came down the steps, and she saw me. 

"Why, darling," she said, "you've 

I was holding her in my arms then and 
it was very hard for me to speak. I just 
held her close, and finally I said: 

"Hello, mommy!" 

The End. 

photoplay combined u-ith movie mirror 


Close Ups and Long Shots 

(Continued jrom page 4) life of the 
average human society . . . and then 
Douglas confounds them by not agreeing 
with them at all. . . . 

"I'm not sure I'm doing the right thing 
by Hollywood," he says ... "I incline 
toward believing that the public prefers 
to think of its stars as supernatural, un- 
real beings, set apart in every ; way . . . 
maybe that is really an actor's mission 
in life ... to supply dream pictures and 
appearances . . . but for me, personally, 
I've got to help out in these awful 
days. . . ." 

Having seen the new box-office fig- 
ures for the major portion of the year 
1940 ... it throws all Hollywood . . . 
but worst of all Paramount ... to see 
Miss Betty Grable in the list of the first 
box-office ten . . . Betty's too forthright 
to be called a glamour girl . . . too curva- 
ceous to be called a dramatic artiste . . . 
too cute to be called artistic . . . but 
there she is, bringing in that folding 
money. . . . 

And when they talk of Grable these 
nights, they automatically talk of Alice 
Faye . . . for with Alice's retirement from 
acting for a year in which to have her 
first child . . . Grable not only auto- 
matically becomes queen of the Twen- 
tieth Century lot . . . but queen of 
Hollywood's musical comedies . . . they 
speak with amused admiration of Grable 
and her success . . . but when inner 
Hollywood talks of Alice, they talk with 
tenderness. . . . 

For now it can be told that there never 
has really been a time in all her movie 
days that Alice has been quite happy 
. . . with the possible exception of the 
first few months she knew Tony Martin 
. . . she attained stardom . . . she at- 
tained wealth . . . but within her soul, 
Alice was always troubled and lonely 
and miserable. . . . 

The demands of her career always con- 
fused her . . . interviews frightened her 
. . . strangers terrorized her . . . 

So inside Hollywood isn't absolutely 
sure that she will even come back to the 
screen after her baby is born . . . she's 
wildly happy now, married to Phil Har- 
ris. . . . 

Thus speaking of love, they think of 
the Gables . . . and they speculate about 
Carole Lombard . . . Carole Lombard in 
search of a picture . . . vivid, dynamic 
Carole who was so sure that what she 
wanted was what the public wanted, too 
. . . and who then had the misfortune 
... or the miscalculation ... to get three 
flops in a row . . . today her health is 
poor . . . she looks constantly tired and 
overstrained . . . yet you see her fran- 
tically reading books, plays, original 
scripts . . . and Hollywood wonders and 
wonders . . . she should be so happy . . . 
the price on some careers runs very 
high . . . and Carole is too exciting, too 
stimulating for Hollywood to want her 
to pay too high a price. . . . 

But it is a changing Hollywood when 
even the inner ring will consider that it 
might be wise to give up a career . . . 
as Alice Faye may ... as Stirling Hay- 
den has . . . and it is a changing Holly- 
wood when it is voluntarily put aside 
as Douglas Fairbanks has put it aside "for 
the duration" . . . and it is a wonderful 
Hollywood when a picture can be both 
artistic and commercial as "How Green 
Was My Valley" certainly is . . . and 
when it comes to the Bioff case. . . . 

Well, what Hollywood says about that 
one I can't tell you ... as much as I 
wish I could ... I can't tell you through 
the pages of a friendly family magazine 
. . . ah, no, indeedy. . . . 
The End. 

JANUARY, 1942 


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They were all in there rooting for the team: Ed Keller, the 
most football-minded alumnus and trustee, Patricia and Michael 
Barnes. Tommy was conspicuous by his absence, but then, 
Tommy thought football was sometimes a waste of time 

The Male Animal 

(Continued from page 41) did not want 
to talk to Tommy about the professor- 
ship. They found him in his study, look- 
ing grave. With him was Michael 
Barnes, senior and editor of the student 
body's quarterly Literary Magazine. The 
Turners knew Michael well: he was the 
rival of Wally Myers, the reigning star 
of the Midwestern team, for the affec- 
tions of Patricia, Ellen's sister. At the 
moment he was very glum. 

"What's the matter?" Tommy asked. 

"Michael has written another of his 
fiery editorials," Dr. Damon said, waving 
a magazine in the air. "This is the 
Literary Magazine, which comes out to- 
morrow. Perhaps, to save time, I should 
read the editorial aloud. 'When this so- 
called University forces such men out 
of its faculty as Professor Kennedy, Pro- 
fessor Sykes and Professor Chapman, 
because they have been ignorantly called 
Reds, it surrenders its right to be called 
a seat of learning. It admits that it is 
nothing more or less than a training 
school for bond salesmen, farmers, real- 
estate dealers and ambulance chasers. It 
announces to the world that its faculty 
is subservient. . . .' " 

"Oh, I didn't mean you, of course, Dr. 
Damon," Michael said hastily. 

" '. . . to its trustees, and that its 
trustees represent a political viewpoint 
which is sheer Fascism. Those professors 
were not Reds. They were distinguished 
liberals. Let us thank God that we still 
have one man left who is going ahead 
teaching what he believes should be 
taught.' " 

THE Dean paused. Tommy lit a cig- 
arette and said interestedly, "Who's 

Instead of answering, the Dean con- 
tinued reading: " 'He is not afraid to 
bring up even the Sacco-Vanzetti case. 
He is going to read to his classes on the 
same day Vanzetti's last statement and 
Lincoln's letter to Mrs. Bixby. The 
hounds of bigotry and reaction will, of 


course, be set upon the trail of this 
courageous teacher, but they will find 
him brave as a tigress — ' Is that a mis- 
print, Michael?" 

"Yes, sir," Michael said. 

" 'Our hats are off to Professor Thomas 
Turner of the English Department.' " 

"Michael," Tommy said sharply, "I 
think you might have consulted me about 

"I — " Michael began, but Ellen inter- 
rupted him. "You never told me you 
were going to bring up the Sacco- 
Vanzetti case in your classes, Tommy." 

"I wasn't. I was going to read that 
letter because it's a fine piece of English 
composition and I'm teaching a class in 
English composition." 

CLLEN said reproachfully, "Did you 
*- want to get Tommy kicked out of 
school, Michael?" 

"No. I didn't think of that," Michael 
admitted. "I thought he was about the 
only man we had left who would read 
whatever he wanted to to his classes. 
I thought he was the one man who would 
stand up to these stadium builders." 

"I'm not standing up to anyone, Mich- 
ael," Tommy said miserably. "I'm not 
challenging anyone. This is just an inno- 
cent little piece I wanted to read." 

"I'm afraid you'll have to deny you 
ever intended to read it," the Dean said 
regretfully. "With Ed Keller and the 
rest of the trustees rather upset, at the 
moment, over the late presence of — er — 
Reds — in the faculty. . . ." 

"Of course Tommy'll deny it," Ellen 
said. But she remembered, later, that 
he didn't, just then, confirm that state- 

The interview with Dr. Damon cast a 
pall over the evening for Tommy and 
Ellen — and for Ellen's sister Patricia, too, 
when she heard of it. Times like this, 
when Michael Barnes' tendency to take 
himself and the world too seriously 
landed him in trouble with the author- 
ities, made Patricia think she preferred 

Wally Myers, who took only football 

Still, the cocktail party went off well 
enough — up to a point. Joe Ferguson ar- 
rived first, driving a long, low-slung 
limousine. And he was just the same, 
Ellen thought. He hadn't changed a bit. 
He roared when he saw her: 

"Ellen! How are you, baby? Boy, you 
look great!" And he threw his arms 
around her, whirled her off her feet in 
a wide circle. 

"Joe! You fool! Put me down!" Ellen 
shrieked, laughing, just as Tommy came 
in from the kitchen bearing a full cock- 
tail shaker. 

Fast on Joe's heels came the Kellers — 
Ed about forty-eight, getting heavy 
around the middle; Myrtle plump and 
still reminiscently pretty. Ed and Joe 
greeted each other with noisy, affec- 
tionate insults and some back-pounding, 
and fell into eager talk about the chances 
of the Big Red Team tomorrow. The 
Damons arrived and Myrtle Keller and 
Mrs. Damon spoke of mutual friends who 
had been, were about to be, or should 
be, operated upon. 

Dean Damon picked up a book and 
Tommy, bored, drank a few too many 

Cleota, the Turners' maid, circulated 
sadly around the room with a tray, re- 
peating to everyone, "Hore doves?" in 
her soft Southern voice. 

| T was Mrs. Damon who made the fatal 
' error. In a conversational lull at supper 
she said to Patricia, "Where's Michael 
Barnes this evening? Frederick tells me 
he's written a remarkable editorial." 

Patricia said nervously, "He couldn't 
come. He doesn't like parties." 

Chattily pursuing the subject, Mrs. 
Damon said, "I'm always so interested 
in the Literary Magazine. What was the 
editorial, Patricia?" 

"Eat your dinner, my dear," Dr. Damon 
said. "Remember, Mr. Keller . . . wants 
to get to the rally." 

Ed perked up. "Who is this Barnes? 
What's this about an editorial?" 

"Oh — it's nothing, really," Ellen said. 

But Tommy said, "Since it's come up. 
Ellen, we might as well tell Mr. Keller. 
He'll read about it tomorrow, when the 
Magazine comes out. I told Michael I was 
going to read something to one of my 
English classes and he got a mistaken 
idea about it and wrote a sort of — " 

"What was it this kid said you were 
going to read? Anything important?" 

Tommy hesitated — then took the step. 
"It's a short but beautifully written piece 
of English by Bartolomeo Vanzetti." 

"Never heard of him," Ed said com- 
fortably. He raised his fork to his lips 
and abruptly lowered it. "Hey, you don't 
mean Vanzetti of Sacco and Vanzetti — 
the Reds that were executed in Massa- 
chusetts for murder?" 

"Yes, the same man. Only, a lot of 
people don't believe either of those men 
committed the murder. The letter is part 
of a series. I read many such letters to 
my class." 

"You mean letters by anarchists?" 

Tommy restrained himself. "No," he 
said quietly, "letters by men who were 
not professional writers — like Lincoln. 
General Sherman — " 

"Well!" Keller puffed. "It's a darn good 
thing you changed your mind. Putting 
Lincoln and General Sherman in a class 
with Vanzetti! Wouldn't look very good. 
You better deny it quick, Turner. I can 
promise you the trustees will clamp down 
on any professor who tries anything 
funny. I'm telling you that for your 
own good." 

Joe came to the rescue of the tense 
situation by dragging Ed into the library 

photoplay combined with movie mirror 

for another drink. 

"Tommy," Ellen said, "Tommy, you're 
not going ahead and read that letter?" 

"Yes, Ellen, I think I have to. Monday 

"Tommy! Try to be practical for once. 
Do you think Joe would do something 
that would get him into trouble just 
because somebody irritated him?" 

"Joe!" Tommy snapped. "I don't see 
why you don't try to understand how I 
feel about this." 

They were saved from a quarrel only 
by the re-entry of Joe and Ed, clamoring 
to be off to the rally. Tommy said he 
didn't think he'd go along — he didn't 
feel very well. Ellen, pressing her lips 
together, yielded to Joe's insistence that 
she go with him. 

THE following morning the Literary 
Magazine was distributed on the cam- 
pus. About eleven o'clock reporters de- 
scended upon Midwestern University. 
They besieged Ed Keller and other 
trustees, they maintained an active sur- 
veillance of Tommy Turner's house. But 
they could not find Tommy. He had gone 
for an early-morning walk. 

He came back about one o'clock. 
Ellen was waiting for him in the 
library. She had been worried over his 
absence, so naturally when he returned, 
looking perfectly normal, she was angry. 
The first thing she wanted to know was 
whether or not he'd denied that he was 
going to read Vanzetti's letter. When he 
said he hadn't, she sighed, "You mean 
you've decided you will read it. Tommy, 
I don't know what to say to you." 

Tommy, about to go upstairs, turned. 
"I think maybe you've said enough al- 
ready. Last night I began to see you, 
and myself, clearly for the first time." 

Ellen blushed. "Oh — you saw Joe kiss 
me! I thought that was it." 

"No," Tommy admitted, "I didn't. Did 
he kiss you?" 

"Yes, he did! And I want you to stop 
this. If you're going to be jealous, be 
jealous, rave or throw things, but don't 
act like the lead in a Senior Class play!" 

Running a hand furiously through his 
hair, Tommy said, "I'm not jealous! I'm 
trying to tell you that I don't care what 
you and Joe do! It's very lucky that he 
came back just now. I mean on the 
money I make, I can go on fine alone, 
reading whatever I want to to my classes. 
That's what I want." 

"Oh, that's what you want! All of a 
sudden! More than me?" 

"It isn't so sudden," Tommy said. "It's 
logical. We get in each other's way. You 
wear yourself out picking up after me. 
And anyway, you've always been in love 
with Joe Ferguson. I knew it last night 
when I saw you two together again." 

"All right. Have it your own way," 
Ellen said. "If you want to be free, then 
I want to be free — and I've gone around 
for years mooning about Joe. Well, may- 
be I have — maybe I have, because I'm 
certainly sick of you right now!" 

C LLEN went to the game that afternoon 
L with Joe. Tommy listened to it on the 
radio, in company with Michael Barnes 
and the remains of last night's liquor. 

"Do you know," Tommy asked Michael 
toward the end of the afternoon, "the 
first law of human nature?" 

"Yes. Self-propagation." 

Tommy shook his head. "Not any more. 
Defense of the home. Against prowlers 
and predatory — prowlers. Do you know 
what the tiger does when the sanctity 
of his home is jeopardized?" 

"Um — he talks it over with the other 
man, quietly and calmly." Michael 
helped himself to another drink. 

"He does not!" Tommy sputtered. "Let 

JANUARY. 1942 


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us take the wolf. What does he do? I 
mean when they come for his mate? He 
tears 'em to pieces." 

"But we are civilized men," Michael 
said. "Aren't we?" 

Tommy pounded on the top of the 
radio. "And so does the leopard," he 
shouted, "and the lion, and the hawk. 
They tear 'em to pieces. Without a word. 
Let us say that the tiger wakes up one 
morning and finds that the wolf has 
come down on the fold. What does he — ? 
Before I tell you what he does," Tommy 
explained in his best classroom manner, 
"I will tell you what he does not do." 

"Yes, sir," Michael said. 

"He does not expose everyone to a 
humiliating intellectual analysis. He 
comes out of his corner like this — " 
Tommy jumped up, took a fighting pose, 
swayed, and sat down again. "The bull 
elephant in him is aroused," he said. 

"Can't you stick to one animal?" 
Michael asked. 

"No. That's my point. All animals are 
the same, including the so-called human 
being. We are all male animals, too. 
Even the penguin. He stands for no 
monkey business where his mate is con- 
cerned. Swans have been known to 
drown fierce Scotties who threatened 
their nests. Think of the sea lion for a 
minute. His mate is lying there in a 
corner of the cave on a bed of tender 
boughs. Now. who comes swimming 
quietly in through the early morning 
mist, sleek and powerful, dancing and 
whirling and throwing kisses?" 

"Joe Ferguson," Michael said. 

And what do I do?" 

"You say 'hello.' " 

Tommy nodded sadly. "But the sea 
lion knows better. He snarls, he gores, 
he roars with his antlers. He knows that 
love is a thing you do something about. 
He knows it is a thing that words can 
kill. You do something. A woman likes 
a man who does something. I hope I 
have made all this clear to you. Are 
there any questions?" 

"Yes," Michael said. "Who are those 
people looking at us?" 

Tommy turned around. Ellen and Joe 
were in the doorway. Ellen, in disgust, 
turned and went upstairs. "You guys 
are pie-eyed," Joe said. 

Tommy got up and came toward him, 
crouching a little. "So!" he said. "You 
crept into this house to take Ellen away, 
didn't you? You thought it was the 
house of a weak professor, didn't you? 
Well, come outside! Come outside, where 
I can knock you cold." 

"Now, wait a minute!" Joe protested, 
but Tommy had him by the arm and 
was tugging him toward the back yard. 

It was about this time that things be- 
came completely confused for Tommy. 
He remembered, later, launching a ter- 
rific haymaker at Joe's chin. It landed 
instead on Joe's nose, which began to 
bleed. Joe seemed to push him and after 
that he didn't remember anything at all. 

|_| E woke up with a terrific headache. 
' ' It was morning. He was in his bed- 
room and a photographer was in the tree 
outside, pointing a camera at him. He 
got up and pulled down the blind. 
Through the window on the other side 
of the room he saw Dean Damon in the 
back yard next door. 

The Dean looked up. "Hello, Thomas," 
he said. "How do you feel?" 

"I'm not sure," Tommy said weakly. 
"How do I look?" 

"Er — I think we'd better drop that 
subject," the Dean said after a quick 
glance at Tommy's battered face. "Do 
you think you'll be able to read the 
letter? That is — if you plan to read it — " 

"Yes," Tommy said. "I plan to. Lucky 


"They Got Me Cov- 
ered," Bob Hope's 
chuckle opus, gets 
read from cover to 
cover by Claudette 
Colbert, rates grins 
from the Colbert who 
isn't s© bad on chuck- 
les herself. Cal York 
read the book too — 
and has something to 
say about it on p. 12 

today is Sunday — gives me all day to 
rest up." 

"Correction," the Dean said. "Today is 
Monday. Monday noon, to be exact." 

"Huh? Wasn't there a Sunday this 

"Such a Sunday as I hope never to see 
again! You were the subject of every 
sermon in town." 

Tommy groaned. "Guess I'd better 
hurry and dress," he said without 

He hoped he'd see Ellen before he left 
the house. But she wasn't there. Prob- 
ably had gone off with Joe Ferguson 
already, he guessed. He couldn't blame 
her, after the way he'd acted. 

English 2-B had been moved into the 
auditorium, he discovered when he 
reached his usual classroom. Too many 
visitors wanted to attend the class. 
Michael, who met Tommy on his way to 
the auditorium, said stoutly, "They're 
trying to bluff you, Mr. Turner, with a 
crowd. Keller'll probably start some 
rough stuff. They think you're scared." 

"I am," Tommy said. 

He entered the auditorium by the stage 
door. From the wings he could hear 
the murmur of a packed house out front. 
Ed Keller was waiting backstage with 
Dean Damon and pounced upon him. 
"See here, Turner," he shouted, "we just 
had a trustees' meeting in the Presi- 
dent's office. Michael Barnes is out and 
you're on your way out. You'll be asked 
to resign tonight." 

"Sorry, Mr. Keller. I'm taking my 

"There's just one thing that'll save 
your neck — go out there and say you 
were sick. Say you didn't know any- 
thing about Barnes' editorial. You think 
it's an outrage. You're not going to 
read this Vanzetti thing, and you think 
Barnes is getting what he deserves." 

Dean Damon said: "Professor Turner 
wouldn't say that about Michael, Mr. 
Keller, and you shouldn't ask him to." 

Tommy threw the Dean a grateful 
glance and walked out on the stage. His 
first impression was that he'd never seen 
so many people in his life. He wanted 
to turn and run. 

Over in one corner he caught sight 
of Ellen — with Joe Ferguson. He could 

not tell for sure, but he thought she 
was crying. 

"The class will please come to order," 
he said — then realized he couldn't be 
heard and pitched his voice higher. "Last 
week — if you remember — I happened to 
mention that I wanted to read you three 
letters, written by men whose profession 
was not literature but who had some- 
thing sincere to say. Once I had declared 
that harmless intention, the world began 
to shake, great institutions trembled and 
football players descended upon me and 
my wife. I realized then that I was doing 
something important." 

He paused and the crowd stirred ex- 

"THE men whose letters I picked were 

' Lincoln, General Sherman and Barto- 
lomeo Vanzetti. Originally, I chose Van- 
zetti to show that even broken English 
can sometimes be very moving and elo- 
quent. But now — they have made it 
more than that. They say Vanzetti was 
an anarchist. I am not concerned with 
his politics — I only intended to read this 
letter for its value as English composi- 
tion. This is a dangerous thing to bring 
up, of course, and an even more danger- 
ous thing to keep down. I am not a 
politician and had no idea of starting all 
this. But if they want to make it poli- 
tical, all right! I'm fighting for a teacher's 
rights and a student's rights and the 
rights of everybody in this land. No- 
body can suppress ideas just because he 
doesn't like them — least of all in a 
university, where it is our job to bring 
light into this muddled world." 

There was complete silence in the hall. 
In a momentary pause, Tommy looked at 
Ellen. She didn't seem to be crying now. 
Like everyone else, she was listening 

"This is not about Vanzetti," he went 
on. "It is about us. And if I can't read 
this letter today, tomorrow none of us 
will be able to read anything except 
what Edward K. Keller and the trustees 
permit us to read! You know where 
that leads — and where it has led in other 
places. We hold the fortress of free 
thought and free speech in this place 
this afternoon." 

He pulled a small book from his pocket. 

photoplay combined icith movie mirror 

"I'm afraid this may disappoint many of 
you. It is not inflammatory. Vanzetti 
wrote it in April, 1927, after he and 
Sacco were condemned to die. Here it 
is: 'If it had not been for these thing, 
I might have live out my life talking at 
street corners to scorning men. I might 
have die, unmarked, unknown, a failure. 
Now we are not a failure. Never in our 
full life could we hope to do so much 
work for tolerance, for justice, for man's 
understanding of man, as now we do by 
accident. Our words — our lives — our pain 
— nothing! The taking of our lives — the 
lives of a good shoemaker and a poor 
fish-peddler — all! That last moment be- 
longs to us — that agony is our triumph!" 

He lowered the book. "That's all," he 
said tiredly. "Class dismissed." And 
walked off the stage. 

"Nice work, Turner," Ed Keller said 
sarcastically. "Now you're out of a job. 
You're going to starve — " But Tommy 
went on past him. 

HE was on the campus when he heard 
them coming out of the auditorium — 
the whole crowd yelling. A car whizzed 
up to him and Joe Ferguson called, "Hey 
— get in! The mob's after you!" 

Tommy squared himself off. "I knew 
it," he said fatalistically. "Let 'em come!" 

"No, no! Get in the car!" Joe grabbed 
him and hustled him into the back seat. 

"They'll hurt Ellen!" Tommy protested. 

"No, they won't. I'll go get her — you 
lie down on the floor out of sight!" 

Tommy obeyed orders and a moment 
later heard Joe ushering Ellen into the 
front seat. The car started off. 

"But where's Tommy?" Ellen de- 

Joe laughed. "I wouldn't worry about 
that guy," he said surprisingly. "But I 
suppose you're still crazy about him, 
aren't you?" 

"I'm kind of scared of him," Ellen said. 
"He used to be just — nice, but now he's 

Tommy slowly sat up until he could 
see Ellen. She was sniffling into her 

"I don't think he's so wonderful," 
Joe said. 

"He is, too! That letter's wonderful! 
What he's trying to do is wonderful. He 
wouldn't let me or you or anyone stop 
him. When he read that letter — that's 
when he was the real male animal, not 
when he punched you on the nose Sat- 
urday." The snifTLiig changed to a pitiful 
wail. "Oh, Joe — he's so wonderful!" 

Tommy poked his head across the seat. 
"I think you're wonderful, too," he said. 

"You were listening!" she said accus- 
ingly and might have said more, but at 
that moment a flying wedge of students 
appeared out of a side street and blocked 
the car's progress. Joe had to stop. Cries 
of "There he is, boys! Let's get him!" 
filled the air. Clutching hands lifted 
Tommy bodily out and tossed him to the 
shoulders of a brawny football star. And 
suddenly Tommy realized that the yelling 
he'd heard was really cheering and that 
they weren't bent on lynching him but 
on carrying him home in a triumphal 

Feeling dazed, happy and quite foolish, 
he was borne down the campus to his 
own doorstep. Ellen came running 
through the crowd to him. With every- 
one looking on, he swept her into his 
arms and kissed her. 

"Tommy!" he heard her say. "Don't 
be so rough! And comb back your hair! 
You look terrible!" 

"Don't give me that!" he ordered. "I 
look wonderful." 

"Yes, dear," Ellen said hurriedly. "Yes. 
dear. You look wonderful." 
The End. 

JANUARY, 1942 

I'm known at home as 
the ugly duckling 

"Hm! Pretty good-looking duckling to me! What d'you mean, you're 
known at home . . . ?" 

"Dad calls me that on account of what I used to be. You should have 
known me then! Thin, skinny, run-down— I even used to . . ." 

"Used to iv hat?" 

"Scare babies, like this! And then 

I was told I had a Vitamin B 

Complex deficiency." 

"Say it in English!" 

"It's a shortage of those amazing 

vitamins you find in their natural 

form in fresh yeast. So I bought a 

week's supply of fleischmann's. 

Took two cakes a day in nice cool 

tomato juice, and pretty soon . . ." 

"Pretty soon— a dream come true! 
But what's this business about 
tomato juice?" 

"That's the new way to take 
yeast. Lookit! Mash a cake of 
fleischmann's in a dry glass 
with a fork, add a little tomato 
juice, stir till blended, fill up the 
glass, and drink. Delicious!" 

"«n# s 

All 1 1" " 


^-— ' 

Ever read the fleischmann 
label? This is the only yeast with 
all these vitamins. And the only 
sources of the important Vitamin 
B Complex are natural sources, 
such as yeast and liver. Remem- 
ber, if you bake at home, that 
three of the important vitamins in 
fleischmann's, B,, D, and G, 
are not appreciably lost in the 
oven; they go right into the bread. 

Fleischmann's Fresh Yeast 
For Natural Vitamin B Complex 


(Continued from page 53) my age." 
That should have been the tip-off. 
After all, the studio people weren't 
fooled. Within a few days, as a matter of 
fact, they had a Little Talk with Connie 
Lupino, Ida's mother. "What is this?" 
they asked, not very politely. "The way 
this kid talks to reporters — she ought to 
be posing for baby food ads." 

"Look," Connie said, "she is only a 
baby. . . ." 

". . . without a trace of talent," said 
Connie to her guest. (Scene: the Stanley 
Lupino drawing room in London, winter, 
1928.) She glanced at Ida crouched over 
a book in the bay window seat and low- 
ered her voice. "She's ten, but not at all 
like a Lupino. No feeling for drama, no 
ambition toward the stage. . . . However, 
such an obedient, sweet, well-behaved 

From the window seat young Ida raised 
blase eyelids and looked at her mother 
with what she felt was mingled world- 
weariness and mystery in her eyes. How 
Little They Know, she thought. The 
pages of her book were blurred by a 
glaze of pleasurable tears; brushing them 
aside with the back of her hand, as she 
had seen several leading ladies do in such 
circumstances, Ida focused again on the 
third chapter of "Smilin' Through." 

She was not unaware of her heritage. 
She knew the Lupino legend by heart — 
how in medieval years the family had 
been jugglers and street entertainers, how 
they came to England from Italy about 
the time of Shakespeare, wore stocks for 
working without licenses and eventually 
spawned a brood of acting Lupinos that 
came to be the theater's oldest family. 

She understood how important it was 
to be a daughter of Stanley Lupino, Eng- 
land's foremost comedian, and of Connie 
Emerald. But Stanley and Connie were 
busy, after all; Connie was enchanted 
with her daughters, and by them, but 
when there was a job to do it was enough 
that they were well, and happy, and had 
good manners. 

At private school, the Clarence House 
school at Hove where Ida stayed until 
she was eleven, she knew only discipline 
and routine. Home was a different mat- 
ter. It was a 200-year-old structure full 

Ida, the Mad Lupino 

of dark crannies, paneling and stained- 
glass windows, and it was almost always 
crowded with itinerant guests, actors 
down on their luck who came to Stanley 
because they knew he wouldn't refuse 

The air rang with rehearsals, with the 
constant undertone of people muttering 
lines to themselves; and sometimes, late, 
when everyone — including Nannie and 
the servants — were asleep, Ida pulled Rita 
out of bed and led her to the stair land- 
ing where, in the dim light, the two chil- 
dren gave their own interpretation of 
what they had heard that day. 

THE time had come now, however, for 
■ greater things. The two Lupino girls 
approached Stanley, asked for a hut to 
be built in the back yard, explained they 
wanted a stage large enough to crawl 
onto and room for at least five neighbor- 
hood friends to crouch before it. "So we 
can give plays," Ida said, when Stanley 
asked why. 

"All right," he said, "but that's all it 
will be. A hut. I'll give it three after- 
noons this week." 

He gave it eight months, all told, hav- 
ing become utterly charmed with the idea 
after that initial conference; and when 
the hut was finished it had employed the 
services of eight workmen, besides two 
electricians, and was a private theater 
boasting regularly employed prop men, 
a call board, fifteen lots of scenery, a 
foyer, a flyaway, a pit and real stalls with 
tip-up chairs, each holding a cigarette 
tray on its back. The entire shebang cost 
a small fortune and could seat 100. 

"Well, I had a dream of such a theater 
when I was a boy," Stanley explained de- 
fensively when the scandalized Connie 
saw the bills. "Now I've got it." 

"But the children," Connie wailed. "It 
was supposed to be for them!" 

"Oh — oh yes," said Stanley. "Well, 
and they shall use it, too. But appro- 
priately, mind you. Appropriately." And 
the rolling of his r's was fine to hear. 

Wherefore the child Ida was given roles 
in "Hamlet" and modern productions of 
the "Ladies In Retirement" variety at 
the age of eleven, clad in full evening 
dress and allowed to perform before a 
chosen audience who had previously been 

Getting familiar with 
the Lupino family: 
Father Stanley, Ida, 
Connie and Rita in 
a private "at home" 
musical comedy 


warned what to expect. Now it cannot 
honestly be recorded that Ida Lupino, at 
eleven years, walked out on that stage 
and appeared to be a tragic woman of 
thirty. But she gave a strangely accept- 
able imitation of such a woman. The 
applause at her exit (the night of her 
debut) was gratifyingly loud, although it 
was unaided by the four hands you 
would have expected to clap the loudest. 

Connie and Stanley were too deeply 
astonished to applaud. "Why — it's incred- 
ible," whispered Ida's mother vaguely, 
still staring at the curtained stage. 

"By heaven!" shouted Stanley. "The 
gel can act!" 

He was only mildly surprised, there- 
fore, when less than two years later she 
knocked on the door of his study, entered 
shyly but with her mouth thin and deter- 
mined and announced she wanted to quit 
school for a career. 

"You're only thirteen," he said. 

"And a half." 

"There's your school." 

"I'm two years ahead," she told him, 
after a moment. "I cheated." 


"I studied at night," she said. "I sneaked 
downstairs during lights out and studied. 
Because I thought if I did that I could 
get out sooner, and. . . ." 

"And what?" 

"And be an actress." She faced him, 
chin and lower lip firm, brow defiant. 
Stanley wavered, folded his hands. 

"We'll make a bargain," he said, as so 
many fathers in like crises have said be- 
fore him. "I want you to go to Switzer- 
land for a time — there's a school I've in 
mind. But if you can get a job within the 
next six weeks, not using the Lupino 
name or connections, you've my permis- 
sion to do as you like." That's safe 
enough, he thought. She can't do that. 

But she did. 

SHE was abnormally tall for her years 
anyway and in certain of Connie's 
clothes she looked old enough to match 
her language, which was the language 
of the stage, of the Lupino social set. 
Worldly and full of shop talk and reek- 
ing of the theater, that language; and 
she used it well. Besides, she had found 
a bottle of peroxide in the medicine cab- 
inet, so that her hair quite suddenly be- 
came sophisticated hair. 

The job she got was not much. A stage 
manager happened to need someone to 
play a maid. A thin, haggard girl in 
someone's obviously cast-off clothes ap- 
plied for the part, looked the part, and 
furthermore said her name was Ida Ray. 
He hired her, writing in the minimum 
wage allowable to salve his conscience. 

She rushed into Stanley's study that 
evening, full of triumph, harsh-voiced 
with fatigue. "I've done it," she croaked. 
"I've got a job! The bargain's done, 
you made it yourself. No more school. . . ." 

She looked grotesquely young, pitifully 
vulnerable, standing there in her shape- 
less dress with her undisciplined straw- 
colored hair awry and her ankles twisting 
on unaccustomed heels. Stanley must 
have found his heart full of pride for the 
kid, plus a sharp, nostalgic understanding 
of her eagerness — he was an actor and 
therefore a sentimental man. He walked 
slowly to the window, stood looking out 
with his back to Ida. He waited the 
effect-pause no longer than was abso- 
lutely necessary. 

Then, relieved, he turned and beamed 
on the child. "Aren"t you the one!" He 
said. And, "Oh now, none of that. Come 
here, put your head here. Why the tears? 
You knew I'd keep my promise." 

photoplay combined with movie mirror 

THERE were the next two years, until 
she was fifteen, and they were too 
crowded, too full of things and people 
and happenings, so that even today they 
make a blur when she thinks of them. 

At the Royal Dramatic School of Art, 
about this time, she met a boy named 
Jack, a brilliant youngster whose future 
in the theater seemed assured and who 
recognized in Ida perhaps more than the 
other students, or even her parents, knew 
was there. Ida was ever a dramatic 
child: when he played the Knight in 
Shining Armor to her Maiden in Distress 
(in the school's experimental produc- 
tions) she translated the dialogue into 
words that had a meaning to herself — 
and so did he — 

They fell in love, which is important 
not only to her history but to Ida per- 
sonally, and always will be, since it was 
first love, dressed in all the ideals such 
youth as theirs could invent. From it 
they concocted dreams. "Someday, when 
we are stars, and rich, we'll buy a castle 
with a moat. . . ." 

Then, finally, it was over. Jack had 
gone abroad, and Ida was busy growing 
up. But the dream was still there. She 
remembered it for years, until another, 
greater dream supplanted it. 

Playing small parts, attending the 
Royal Academy of Art and falling in love 
occupied her during the first of those 
two incredible years. The second is 
more unbelievable still. It began with 
Allan Dwan's coming to England to do 
a picture and with Connie's asking Ida 
to spend an afternoon with her on an 
Elstree sound stage to watch cousin Lu- 
pino Lane direct Stanley in a talkie. 
Dwan came up to Connie, pointed to Ida, 
said, "That's the first English girl I've 
seen who looks American enough for this 
story. Let me give her a screen test." 

"She's too young," Connie said absent- 
ly, watching Stanley rehearse. 

But Dwan was persistent. He tested 
Ida the next day, the forty-first test he 
had run, and hired her forthwith. Where- 
upon Connie once more had to stand 
and watch her fourteen-year-old daugh- 
ter make violent love to a man of thirty- 
five. She felt ashamed, in a way; but 
at the same time she knew the exultation, 
the pride that Stanley had felt that eve- 
ning when Ida had come to him with 
her first job. She was such an infant, 
that Ida, but what an actress! 

It was the year of the quota pictures 
in England, which means a prescribed 
number had to be done in a certain length 
of time, and Ida — it seems to her now, 
in retrospect — did them all. She played 
a hard-bitten golddigger in "Money For 
Speed"; she starred with Ivor Novello in 
"I Lived With You," an extremely naugh- 
ty role indeed; and a lot of others, all of 
a type. Her hair was platinum now, and 
her violet eyes were heavily shaded under 
mascaraed lashes; her eyebrows were 
gone, with pencil lines in their places; her 
figure had filled out a little — you could 
see that, because of the gowns she wore. 
Sometimes, looking at her, Connie recog- 
nized in this production only a faint re- 
semblance to her daughter Ida. 

So that when Paramount offered to pay 
the child $600 per week on a five-year 
contract, plus traveling expenses for both 
of them to Hollywood, Connie didn't 
protest very much. It seemed useless 
anyhow. Ida wanted to go. She wanted 
that more than anything in the world. 

If Ida had known what Hollywood was 
going to hand her those first discourag- 
ing years, she might not have been so 
anxious to leave London. That sur- 
prising story will be told you in the con- 
cluding installment to appear in Febru- 
ary Photoplay-Movie Mirror. 

JANUARY. 1942 


YOU want to be yourself! You're 
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(Continued from page 37) ensigns on its 
hands. The upshot of all this big dis- 
armament talk was that Brian Donlevy 
quit the Academy. 

It was only natural that he should head 
for New York. All writers did, didn't 
they? But writing was risky, acting 
riskier. He had to eat, so (shades of 
John Paul Jones and David Glasgow 
Farragut!) he turned collar-ad model for 
two years. 

Then one day he heard that a pro- 
ducer was looking for a former marine 
to play the part of a leatherneck. He 
made a beeline for the office, demanded 
an interview, swore he was an ex-marine 
and got the part. The play was called 
"What Price Glory." William Boyd, 
George Tobias and Louis Wolheim were 
also (and more prominently) in the cast. 

The part was small, the play was great 
and the Donlevy doom inescapable. 
"After that I was sunk," is how he puts 
it. True, he tried to square accounts 
with his bright star by enrolling for a 
short story course at the Columbia School 
of Journalism. The professors ripped his 
things to pieces. He quit struggling with 
Fate after a month and gave in to the 

There followed several seasons of suc- 
cessful Broadway plays, with certain 
notable interims of inactivity in between. 
Still, life was doing all right by Donlevy. 

THE only trouble, he discovered, was 
that one by one his chums were quit- 
ting the legit and heading for Hollywood. 
First it was Jimmy Cagney. Not long 
afterward Pat O'Brien took off. Then 
Frank McHugh. 

By the time he was doing his turns 
in "Life Begins At 8:40" he was getting 
a raft of mail from his pals on the Coast. 
They never failed to describe Hollywood 
as "a cinch" and invariably wound up 
with this admonition: "Don't come here 
until you're asked." 

When "Life Begins" breathed its last 
in Detroit, Brian headed for New York 
with a modest little poke in his pocket 
and practically all his chums in Holly- 

If you are guessing that Mr. D. is about 
to meet up with another of his accidents, 
you are definitely psychic. He is indeed. 

Back in New York, he ran into a bunch 
of the local boys. One thing led to an- 
other, which in turn led to a celebration 
in honor of Donlevy 's return. 

The next thing our Brian knew was 
that when he looked out the window 
he saw stars. They seemed closer than 
ever before. To complicate matters 
further, he thought he detected a loud 
humming. All of a sudden it dawned 
on him: He was aboard a plane. You 
guessed it, reader, he was en route to 

A T the first stop — and the next four 
** consecutive stops — he wired his best 
friend, Hugh O'Connell, telling him he 
was coming and no more of Hughey's 
cracks about waiting until you're asked. 
He was asleep in O'Connell's bed when 
that honest gentleman checked in from 
work late that night. 

"Hi, sucker!" is how his pal Hughey 
greeted him. 

For four weeks Donlevy haunted 
Hollywood looking for work. But no 
takers. When he got down to $160, he 
bought an airplane ticket for the trip 
back. O'Connell wouldn't hear of his 
leaving. He lent him $100 and told him to 
stick it out. The money gone, Donlevy 
decided that Hollywood wanted no part 
of him. The one man who didn't agree 
with him was Hugh O'Connell. 


"Isn't there someone here you know 
from New York — someone connected with 
handing out jobs, maybe?" 

"I know Bob Mclntyre. Seems to me 
he's in this racket." 

"Bob Mclntyre — why, he's casting for 

Mclntyre was a soft touch. He gave 
Brian a job, sent him to wardrobe to 
get outfitted. 

The fellow in wardrobe tossed a black 
shirt at him. The way Brian caught it, 
he couldn't help noticing the name on 
the back of the collar. The name was 
Clark Gable. 

What he did next is a lesson in 

Starting with that black shirt Gable 
had worn in "The Call Of The Wild," he 
requisitioned a complete black getup, 
black to the smallest detail. Even his 
derringer was black. His strategy was 
this: Due to his black costume, the 
audience's attention would naturally be 
focused on his face. And that face had 
to be remembered or Donlevy had to 
leave Hollywood. 

The reaction to Brian Donlevy's debut 
as the black-shirted killer in "Barbary 
Coast" was terrific. One trade paper 
ironically compared him to Clark Gable! 
He was signed to a term contract by Fox. 
As Warners did to John Garfield, so did 
Fox to Donlevy — they made him a crim- 
inal. He stuck it out for three years 
and quit. 

He went over to Paramount on downs 
and was promptly clapped into "Union 
Pacific," again as a heavy. They re- 
warded him for his fine performance by 
casting him as Sergeant Markoff in 
"Beau Geste." Once more a heavy. He 
parted with Paramount and went over 
to Universal by invitation. The Uni- 
versal sachems put him in "Destry Rides 
Again," an opus in which he played a 
deep-dyed scoundrel. 

Things began to look hopeless. 

ON one of his off-days he dropped by 
the Paramount lot, strolled into the 
commissary for a cup of coffee and was 
hailed by a somewhat distinguished 
gentleman in an ascot. 

It was Preston Sturges, another of 
Donlevy's pals who had drifted West, 
the same Sturges who had written a play 
called "Maid Of Manhattan," which hit 
Broadway with a thud despite Donlevy's 
fine performance. 

Well, to get on, Sturges asked him 
how he was doing. 

"Terrible. A case of 'heavy' indi- 

"Interested in comedy?" 

"Very much." 

"You're in." 

The comedy was called "The Great 
McGinty." The title ought to have been 
"The Great Donlevy." It showed Holly- 
wood that he could do more than bully, 
torment, scourge and slay honest citi- 
zens only to receive his just doom in the 
final reel. 

In close-up he is a mild-mannered 
somebody who talks as if he were think- 
ing of something else. If he is, it is 
probably gold mines of which baubles 
he has quite a few — none of them pro- 
ducers as this goes to press. Mrs. Don- 
levy, "Marge" to you, is always shooing 
away gents whom Brian has invited to 
the house to talk business, meaning the 
purchase of a new mine. 

He denies that clothes mean anything 
to him, yet he is his tailor's delight. The 
Donlevy suits run along the sharp side 
a trifle, but they are costlier getups 
than most of the top-drawer writers ever 

photoplay combined with movie mirror 

One of the most popular men on his 
ot, he is everybody's pal. Even Charles 
Boyer stops to talk with him. Paulette 
Uoddard is a one-woman fan club. The 
Paramount moppets, Susanna Foster and 
Betty Brewer, idolize him. On his side, 
Brian sticks pretty much to the old 
Broadway gang, McHugh, Tracy, Cagney 
and the rest. 

Not to mention William Holden, with 
,vhom he became great pals during the 
ilming of "I Wanted Wings," a fellow- 
ship which will be continued both on 
md off screen in "The Remarkable 
Andrew." So close did the friendship 
Decome that it was Brian and Marge who 
accompanied Bill and Brenda Marshall 
)n their sunrise elopement to Las Vegas 
ast July. 

Robert Taylor is on the list, too, way 
jp. It was Taylor, by the way, who 
riade Brian see red one particular night. 
He had dropped by the Troc to line up 
i date for that evening with his wife- 
;o-be only to discover that Taylor had 
Deaten him to the punch and was taking 
ler out himself. 

Anent the wife-to-be business, Brian 
net her in the best Donlevy accidental 
fashion. He happened to drop by the 
}ld Hollywood Trocadero. Marjorie Lane 
ivas singing a blues number when he 
walked in. He never took his eyes off 
fier that night. 

It was a stormy courtship. From the 
Deginning, almost, the Troc's sensational 
songbird was always explaining to Don- 
levy in no uncertain terms why they 
weren't meant for each other and Brian 
would explain why she was all wrong, 
tn the end, after four or five months of 
debating, they were married on Christ- 
mas Eve in Tia Juana. Nine days later 
they were married again, in Los Angeles, 
this time. 

For Brian it was a second marriage. 
When he and Yvonne Donlevy received 
their final decree in Reno earlier that 

year, Brian was "through" with marriage. 
A fortnight later or so he met Marjorie 

Villa Donlevy, out Brentwood way, is 
a charming manor house with a living 
room that is part modern, part Cape Cod, 
with burnished copper kettles, iron grill 
work and tooled leather on one side and 
on the other a huge bar, a replica of a 
New York speak. Here Brian presides, 
pouring out beer in mammoth steins or 
mixing weird concoctions from Irish 

He calls Marge "Squirt." She calls 
him a million names — anything but 
"Daddy." He makes the money. She does 
a good job of putting it away, as good 
as she can, considering the fact that he's 
eternally bringing home gifts for her, 
gifts which he has charged at the stores. 

In a box of orchids she has found a 
card with a poem beginning: 

"I'd write a lovely poem betimes 
To Marjorie. 

There's nothing (printable) that rhymes 
With Marjorie. 

If only you were called Louise, 
My Marjorie, 
Then, pressed for rhyme, I'd use by- 

See, Marjorie?" 

And so on. 

In a box containing a gold bracelet 
embossed with a heart fashioned out of 
rubies, Marjorie Donlevy has found a 
card with the written-for-the-occasion 

"This is no fancy poem. 
Nor is it a toast. 
But something to remind you 
I love you the most." 

Maybe he has salvaged something out 
of that wrecked writing career after all. 
The End. 

Inside Stuff 

(Continued jrom page 13) 

Old Cal Goes Back to the Indians: 

Ever wonder what transpires when a 
group of Hollywoodites is suddenly 
transplanted to some far-off spot for a 
location jaunt? 

Wonder no more, my friends, for old 
Cal himself has just returned from a 
weekend with the "Valley Of The Sun" 
troupe up in Taos, New Mexico. After 
a night on the train we were whisked 
(a cowboy in a station wagon did the 
whisking) over the old Kit Carson trail 
to picturesque Santa Fe and then on 
ninety miles to Taos, a spot out of this 
world, known and loved by artists, writ- 
ers, Indians and geniuses. 

At the Sagebrush Inn we gathered up 
leading lady Lucille Ball and her hus- 
band Desi Arnaz and with Tom Tyler 
lunched at the picturesque La Fonda 
Hotel. Indians, swathed in blue cotton 
blankets from the local store, crowded 
the crooked streets, the white-booted 
squaws meekly trailing their husbands. 
These are the pure Taos Indians and 
they rivaled even Hollywood for color 
and glamour. 

Out on the magnificent broad mesa, 
Director George Marshall was busy with 
his troupe. In a covered wagon were 
Dean Jagger and James Craig, while 
directly behind them stood, of all people, 
Billy Gilbert. Even more incongruous 
was the man who rode by their side, Sir 
Cedric Hardwicke of London, who plays 
an English remittance man. 

As Director Marshall gave the word, 
the wagon drove off over the mesa while 

JANUARY, 1942 

suddenly from over the plains, coming 
straight at us, were several hundred real 
Indians in war paint, screeching like 
fury. What happened to Craig, Jagger, 
Billy Gilbert and Sir Cedric we haven't 
the slightest idea. Lucille Ball finally 
dragged us out from under a sagebrush, 
limp, but with our scalp still intact. 

It wasn't until we visited the pueblo 
later to pay our respects to the Indian 
Governor that we learned most of these 
Indians are college graduates who speak 
at least three languages. 

At the Sagebrush Inn that night, where 
the entire cast gathered, the Indians put 
on their native dances, their almost naked 
and painted bodies quivering to the 
strange rhythmic beat of the drums. 
Between dances Billy Gilbert calmly plied 
his needle back and forth, executing 
some of the finest needlepoint work we've 
ever seen. Mr. Gilbert, who sneezes for 
a living, is very serious over his work 
and brooks no kidding, remember that. 
Even the Indians were stopped dead in 
their tracks at the sight of Billy's sewing. 

But the highlight of the evening ar- 
rived when Cuban Desi Arnaz formed 
a la Conga line of painted Indians, with 
Sir Cedric gracefully kicking from right 
to left in the rear. 

Yes, from Hollywood to Indians may 
be a far cry, but we made it all in one 
glorious week end and wouldn't have 
missed it for worlds. At any rate, you 
have some idea of what goes on on a 
picture location and that was our main 

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{Continued jrom page 26) him down. 
That afternoon he made his second ap- 
pearance. Lunch wasn't mentioned. He 
wanted to know if she'd have dinner 
with him. 

"I never go out to dinner with any 
young man who isn't a friend of the 
family. But come and have tea. I'd like 
my mother to meet you." 

He quirked a brow, said oh, and didn't 
show up again. A couple of months later 
he was married to Damita. A couple of 
months after that he was being co-starred 
with Livvie in "Captain Blood." 

She was thrilled when they told her. 
Errol's looks, Errol's dash, her own 
provocative encounter with him remained 
unforgotten. She thought it would be 
wonderful to work with him, and it was. 
Livvie had one modest success behind 
her. Errol was a blank newcomer, grate- 
ful for her friendliness. 

He went through hell in "Captain 
Blood." Even a veteran would have 
found it a heavy load, but a veteran 
would have known how to protect him- 
self. Everyone was on edge and Flynn 
bore the brunt of that nervous strain. 
To Olivia's earlier liking was added ad- 
miration for his grit. Never did he lose 
control of himself. But now and then 
she'd surprise a lost look in his eyes and 
her heart ached for him. 

Next time she played with Errol, he 
was a star. Nothing lost about him now. 
Very sure of himself he was, and she 
didn't like him quite so well. She couldn't 
know that "Captain Blood" had marked 
him, that his mind had been working fast 
and grimly while he kept his mouth shut, 
that within a few weeks he'd learned a 
lesson many people never learn about the 
fiercely competitive movie game. This 
was the conclusion he reached: "When 
you're underdog, they kick you around. 
If I ever get to be topdog, I'll do my 
darnedest to keep out of a spot where 
they can ever kick me around again. I'll 
watch out for my own interests, I'll grab 
whatever's cominp to me, I'll play the 
game their way." 

OLIVIA was rehearsing a scene with 
him, which had been written as a 
fifty-fifty shot. "Isn't it funny," she 
thought, "I seem to be sitting down 
wrong. My face is always away from the 

Each time they rehearsed, she adjusted 
her chair a little, but to no purpose, till 
it finally entered her head that Errol was 
deliberately maneuvering things his way. 

"But that's ridiculous. He's a star. He 
doesn't need to upstage me to make the 
picture his. Besides, he's not like that." 

She kept edging up till there was no 
more chair to sit on. Then she got mad, 
decided she'd fix him and moved her 
chair. As the cameras started grinding, 
Errol walked in, kicked his own chair 
upstage, sat down and grinned. It was 
funny. It was also exasperating. 

If she'd faced him with it then, she'd 
probably have been doing him a favor. 
The shell he'd grown against danger, real 
and fancied, might have cracked abruptly 
instead of little by little as it did later. 
But she was young and hurt and proud, 
and was asking no favors of Errol Flynn, 
who had once been a knight and knelt 
beside her chair. So a barrier rose be- 
tween them. 

They played in picture after picture to- 
gether and with each their relationship 
grew more deadening. It was nothing so 
active as open hostility. If they'd raged at 
each other, at least some life would have 
fanned the air. This way it was stagnant. 

The climax came with "Santa Fe Trail." 
They were doing night work on location 


and at three in the morning had one more 
scene to shoot. The others wanted to go 
on and get it done with. Errol didn't. 
"Good night, boys," he said, "I'm going 

Livvie stood there flabbergasted. Of all 
the unmannerly — ! All right, he was the 
star and he'd worked the hardest. But 
she was his lead, it took her two hours 
to dress and make up. Not even to ask it 
they'd mind finishing another time. Just 
good night boys, I'm going — 

She went after him. With elaborate 
courtesy, she asked: "Couldn't you possi- 
bly manage to finish this one setup, so 
we won't have to come out again to- 
morrow night?" 

"Why must you approach me on a per- 
sonal basis?" he inquired coldly. 

Then she let go. "If you mean by per- 
sonal, that this involves my comfort and 
convenience as well as that of a lot of 
other people, you're right. Otherwise, I 
don't know what you're talking about," 
and she turned on her heel. 

He almost stopped her. What was eat- 
ing him was the suspicion that she'd 
come, not on her own, but at the behest 
of the authorities who were using her to 
soften him up. Darn the authorities. He 
turned on his heel. 

THEY had a day's stills to do together 
' when the picture was finished. As they 
left the gallery, Livvie said without heat: 
"I'm bored to death with you, Errol, and 
I don't want to work with you again. 
Nothing personal, you understand" — she 
got that dig in neatly — "I'm sure you feel 
the same way about me. It's bad for us to 
work together. Sooner or later it's bound 
to show up on the screen. I'm going to 
talk to Hal Wallis about it. But you have 
more influence than I. Will you talk to 
Mr. Warner?" 

"Glad to," he smiled. "And may I add 
that I agree with you?" 

Livvie talked to Hal Wallis, Errol to 
Jack Warner, the difference being that 
Livvie talked for herself, Errol for Liwie. 
He didn't want any separation. But when 
a lady's bored, what can a gentleman 
say but good-by. 

So it was arranged. Brenda Marshall 
teamed up with Flynn in "Footsteps In 
The Dark." But Livvie had to go with 
him and the company to Santa Fe for 
the premiere of "Santa Fe Trail." En 
route the train stopped at a little town. 
The star and his lead were asked to step 
out on the rear platform and talk to the 
townsfolk over a mike. Unprepared, they 
had to adlib it. Whether Livvie helped 
Flynn out or Flynn Livvie, she doesn't 
remember. But back in their seats, they 
looked at each other as if they were a 
couple of other fellows. 

"Is this you?" Livvie demanded. "Or 
is the other one you?" 

"Which other one?" 

"The one you've been all these years. 
The guy who wouldn't finish the scene 
that night." 

He was sorry, he'd misunderstood, he'd 
been a boor, would she please forgive 
him? The floodgates burst. He told her 
how the thing had started and become, 
without his realization, a kind of obses- 
sion. Remembering "Captain Blood." 
she could understand that. This busi- 
ness between them had been her fault 
too, she said — she'd been callow, in- 
tolerant, overquick to judge. So they 
left it at that and talked about everything 
under the sun, learning more of each 
other in an hour than they had in eight 
years. They were still talking when the 
dinner call came. Errol said he'd brush 
up and come back to take her to the 

photoplay combined with movie mirror 

Fifteen minutes later a forlorn voice 
answered his knock at the door. "You'll 
have to go to dinner without me, Errol. 
I don't feel very well." 

"Oh, I'm sorry. Anything I can do?" 

"No, it must be that terrible beef stew 
I had for lunch. Thanks just the same. 
I'll be all right in the morning." 

Her temperature shot up to a hundred 
and two and the first-aid man had to sit 
with her all night. At the Santa Fe hos- 
pital, her beef stew was diagnosed as 
appendicitis. Errol called with Donald 
Crisp and a huge basket of flowers. At 
the dinner that evening he proposed a 
toast to her. 

OPERATION and convalescence behind 
her, she returned to the studio. It 
struck her that she was being handled 
more tenderly than usual by the front 
office, consulted about details they'd never 
bothered to consult her about before. 
"Surely it's not just because I've been 
ill," she puzzled. "Maybe I'm making an 
impression on my home lot at last." Her 
best roles, be it remembered, have been 
on loanout — Melanie in "Gone With The 
Wind," the delicious Emmy Brown de- 
liriously played in "Hold Back The 

Then she received the script of "They 
Died With Their Boots On." "I like it," 
she admitted. "But you know how Flynn 
and I feel about playing together." 

"Maybe you feel that way, but Flynn 

"What do you mean, Flynn doesn't?" 

"Well, if he does, he's got a funny way 
of showing it: He asked for you in this 

picture." With that, the story came out. 

Not only had he asked for her. He'd 
pointed out that his fan mail clamored for 
her as his partner. He knew that his own 
box-office pull was greater when she 
played with him. If she didn't want to, he 
couldn't say that he blamed her. Not 
because of his attitude alone, but because 
the studio, he felt, had handled her indif- 

Starry-eyed, she went in search of her 
champion. "So you double-crossed me, 
you so-and-so. Oh Errol, what a wonder- 
ful thing for you to have done. How can 
I ever thank you?" 

"For what?" 

"Saying those things about me." 

"Oh, that. They were just facts. Are 
you going to do the part? I'm glad." 

Which is where we came in. With 
Olivia wailing. "And I thought he was 
interested only in himself. Thought it 
and said it. Now he looks so different — 
as if you'd peeled off a whole layer of 
Errol and exposed something underneath 
you'd never suspected. Oh, it's not be- 
cause he tossed some bouquets my way 
that I was so touched. But because of 
what he did for me with the front office 
and how he did it. Because he had the 
imagination to realize that was what I 
needed most and the really nice heart to 
go to bat for me. Me, the smug one, 
who'd never even bothered to try to look 
below the surface with him. Do you 
wonder I feel like a heel? Do you won- 
der I'm racking my head for some way 
to make up?" 

This is to make up. 

The End 

No Runaway Marriage for These Two! 

(Continued from page 28) Eleven months 
later, she saw him again. This time it 
was at a "jam session" at his house, and 
two of his best friends, Buddy Pepper 
and Junior Coghlan, were her escorts. 
The evening was memorable to Bun for 
one reason: Since she had nothing in the 
musical line to contribute to the "jam 
session," Jackie ignored her completely 
in favor of his beloved drum! 

The day before Christmas (almost a 
twelve-month lapse this time!) Jackie 
telephoned around seven-thirty in the 
evening and asked for a date that night. 
Bun began to demur in the expected 
feminine' way; it was "awfully late" to 
be asking for a date. 

"You're not doing anything, are you?" 
Jackie demanded point-blank. 

"No," Bun admitted. "But — " 

"Then let's go," he said. They went. 
Dancing at the Beverly-Wilshire to 
heavenly music and complete forgetful- 
ness of anything like a clock. Bun got 
a scolding for being late but decided it 
was worth it. 

Christmas day Jackie appeared in com- 
pany with her other swains, Pepper 
and Coghlan, and gifted her with a charm 
bracelet made of flags of all the nations. 

It was some time in March he again 
telephoned and asked if she would like 
to go with him while he made a layout 
of publicity pictures of bowling, swim- 
ming, ice skating and so on in the after- 
noon. Bun accepted and promptly 
amazed Jackie by honestly enjoying the 
various sports and proving herself re- 
markably proficient at them. Here, he 
decided, was something pretty swell in 
a girl. 

"Do you have to go home now?" he 
asked. Bun said no. 

"Then let's have dinner and go to the 
preview," he suggested. 

After the preview he again asked if she 
had to go home. She said no. 

JANUARY, 1942 

"Then let's go to Ciro's for a while." 
As he left her at her door, one thought 
was pounding in the back of young Mr. 
Cooper's head. He had been in Miss 
Granville's company for a solid twelve 
hours and darned if he wasn't wishing 
there were twice that time still to go. 

THEY started dating once every, two 
' weeks. Then it was once a week. Then 
it was twice a week. By June of last 
year (1940) they had reached the daily- 
telephone-call stage and were "going 
steady." Since then neither has dated 
anyone else. Not that they ever had one 
of those "we will" or "we won't" agree- 
ments. Both believe such decisions label 
one as youthfully naive. Rather, they 
just slid into a tacit understanding. 

Daytime dates, when picture schedules 
will allow them, are given over to swim- 
ming, horseback riding and bowling. 
That's one reason they're both so excited 
about working together in "Syncopation" 
at RKO; each will have free time at the 
same time. It was tough going when 
Bun was making "H. M. Pulham, Esq." 
at Metro and Jackie was crosstown do- 
ing "Glamour Boy" for Paramount. 

Evenings they have dinner and go to 
the movies (both are movie hounds) or 
stay home and play phonograph records. 
On Saturday nights, as a rule, Bun and 
Jackie step out in style. The best times, 
however, are those dates when they sit 
and daydream about former dates. 

"Heaven help me if I get a July night 
mixed up with a September afternoon!" 
Jackie said. "Bun has a memory like an 
elephant. Doggone, if she can't remem- 
ber everything I said six months ago 
and why I said it!" 

"Heaven help me if I keep him waiting 
ten minutes for anything!" Bun laughed 
back. "Jackie is a positive maniac about 
being on time!" 

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discoveries about each other since they 
have been sweethearts. While Jackie has 
rhythm in his blood, Bun has none at all, 
though she is a good ballroom dancer. 
She likes classical music for its mood 
or beauty, he for its instrumentation. 

They disagree violently about money 
with Bun claiming Jackie is woefully 
extravagant and Jackie accusing Bun of 
pinching pennies at the wrong time. They 
argue over her trick diets (he is an anti- 
diet man as far as she is concerned) , her 
refusal to state dining and dancing pref- 
erences and just plain arguments. 

"Jackie gets off the track in argu- 
ments," Bun observed. "He winds up not 
knowing what we were arguing about in 
the first place." 

"And Bun can't argue quietly and rea- 
sonably," Jackie countered, with a teas- 
ing grin. "She always winds up in a 
lather. But at least," he knocked on 
wood, "we've never got to the hang-up- 
the-telephone stage. Probably because 
neither of us would give in that far!" 

They both dislike hypocrites, phonies 
and people who use them for personal 
gain. They both like sports, swing music, 
puns, spaghetti and tailored clothes. Both 
are nervous, tactless and unafraid to 
sound off. And both are romanticists to 
the tips of their toes. 

"I suppose that's one reason why I am 
opposed to runaway marriage," Bun said. 
"I've had a mental picture of my wedding 
ever since I was a little girl and an 
elopement just won't fit that picture. 

"I want a simple church wedding with 
only my family and closest friends there, 
people who really care about me. I 
definitely don't want a 'Hollywood pro- 
duction' with a lot of people gaping at 
what amounts to a free show. I want 
to wear an ivory satin gown with long 
sleeves, a train and a veil. I want to 
carry white orchids and have two or 
three of my best friends for bridesmaids. 
I want to have all the usual showers 
and parties before the wedding and I 
want to have a small reception after- 
wards with a wedding cake and a toast in 
champagne. I want to have a trousseau 
of lovely clothes and a real honeymoon. 
In other words, I want to be married 
like any girl in any small town, and 
nobody can talk me out of it! 

"ELOPEMENTS, I suppose, do have a 
*■ certain excitement about them, but 
to me the marriage ceremony itself 
should be a sacred moment, not an excit- 
ing one. It should be a moment of such 
beauty that all your life the memory 
of it will bring tears to your eyes. At 
least, that's the way I want it to be for 
me and I know it can be. 

"It is trite but still true that getting 
married is the most important step a 
girl takes in life, for it means she is 
beginning a new life, ordered by dif- 
ferent standards and lived by different 
rules. Surely the realization of that im- 
portance will be greater for me and I 
will be more prepared to make the sacri- 
fices and give the understanding it en- 
tails if I am married in front of God 

Will you ever be rich? 

in God's House." 

The marriage ceremony is one of the 
most important moments in a man's life, 
too, Jackie said, for it means he not only 
is beginning a newly ordered existence 
but has assumed responsibility for an- 
other life. He admits he has very definite 
ideas for the occasion. 

"I want a formal ceremony in church," 
Jackie said. "I want the memory of my 
bride walking up the aisle to meet me, 
the music of a great organ and the 
solemn words of the ceremony itself. I 
want my family and close friends there. 
I want a wedding breakfast for the 
wedding party after the ceremony and 
then a reception with champagne and 
a wedding cake with those little figures 
on top which you keep all your life. 
And I want a real honeymoon, a boat 
trip if possible." 

Like Bun, Jackie is opposed to run- 
away marriage. 

"Marriage is so doggoned important. 
I think it rates a lot of thought before 
you take the step." he said. "Nine times 
out of ten, people who elope do it on 
the spur of the moment. Often they 
haven't discussed marriage and what it 

"Everything about an elopement is so 
sudden and the two people are torn away 
so quickly from their former lives they 
just don't have time to make the neces- 
sary adjustments. As a result, many 
marriages break up which otherwise 
might have had a good chance to suc- 
ceed. Then, too, I think the ease with 
which a couple can dash off in the middle 
of the night and find themselves married 
after a quick word or two by an utter 
stranger can't help but bring the feeling 
that it would be just as easy — and just 
as unimportant — to get a divorce if the 
marriage didn't work out right away. 

"On the other hand, if you stand up 
in church — or in a home, for that matter, 
if the same thought and planning has 
gone into the wedding — and make cer- 
tain promises, you're doing it only after 
both of you have done plenty of think- 
ing. You know what you are doing and 
why you are doing it. And that, above 
all, it's nothing you are going to kick 
around tomorrow or the day after. There 
is a dignity and a solid something about 
it which carries through, year after year. 
It's something to draw on when the going 
gets tough or makes it doubly swell if 
the sailing is smooth. Without that solid 
something, that sense of security and 
permanence, I think any marriage has 
two strikes on it. I intend my marriage 
to last — and I don't want that kind of 

Perhaps in the future, a few years from 
now, Bun and Jackie will share the ideal 
wedding they have in mind. Jackie says 
that is his idea if Bun still feels the same 
about him. The odds on both are pretty 

"Providing she isn't late for her own 
wedding!" Jackie chuckled. 

"And providing he has anything left 
for the ring!" Bun laughed back. 
The End. 

If you have ever asked yourself this question and 
wondered what the answer would be, see how twenty- 
three young people in Hollywood are working out 
security for their precarious futures 


photoplay combined icith movie mirror 

Love among the Reagans 

(Continued from page 31) Between Jane 
and whom it may concern, he has. 
"Everybody likes him," says the candid 
Wyman. "Few people like me." He's 
equable, she's hot-tempered; he's instinc- 
tively friendly, she's had experiences 
which tend to make her mistrustful. 

Their one serious difference arose over 
an attempt on Jane's part to influence 
him in the handling of his career. She'd 
been in the business longer, she wanted 
him to profit by her blunders. Ronnie 
indicated that he preferred to make his 
own. Jane recognized the impasse and 
has kept her hands off since. On the 
basis of his upward zoom from "Million 
Dollar Baby" through "International 
Squadron" to "Kings Row," she concludes 
that off was a good place to keep them. 

Indeed, it's Jane, the stormy half of 
the pair, who's done most of the surface 
adjusting. "At no cost to myself, be it 
understood," she says. "I'm only a thou- 
sand times happier than I've ever been. 
I used to be the kind of person who sat 
around swank night clubs with a big 
fuzz on my head and a long cigarette 
holder sticking out of my face. Athletics 
held no charm for me. First I was too 
lazy, and then what for? Till along came 
Reagan and all I heard was football and 
track and swimming and golf. The only 
way I could get to see him was out on 
a golf course. So where do you think 
I went? Out on a golf course." 

NOW they play together every Sunday, 
with Ronnie gloating over his wife's 
perfect swing. She started her swimming 
lessons on their honeymoon and he 
thinks they'll get round to horses next. 
He's broaching the idea subtly from the 
angle of how well she'd look in riding 

Ronnie's notion of a good time is not 
going to night clubs. He never said to 
his bride, "Let's cut them out." They 
just oozed out, along with the fuzz on 
her head and the cigarette holder. Eve- 
nings are now given to movies, gin 
rummy and books. After knitting Ronnie 
all the socks he could wear, Jane sud- 
denly discovered the existence of reading 
matter and devours it with the greed 
of one who's been unconsciously hungry 
all her life. 

Before marriage, Jane's spending was 
governed more closely by her whims 
than her bank account. Ronnie, on the 
other hand, is a guy with a system, self- 
installed, since to him a business man- 
ager is a tacit admission that you're too 
dumb to save your own dough. The 
Reagan incomes are pooled. It's not his 
money or her money, but their money, 
At the end of the week, so much goes 
into the joint savings, so much into the 
joint checking account. A check is drawn 
to cover their spending money for the 

If Jane makes a wistful crack about 
some divine fur coat she could get 
along beautifully without, Ronnie says 
okay, honey, and hauls out the bank 
books. It winds up with Mrs. Reagan's 
wanting to know what he's talking about, 
it's perfectly obvious they can't afford a 
fur coat, while the mister winks approv- 
ingly at himself. 

THEY'RE planning their home on the 
same sensible structure of don't-bite- 
off-more-than-you-can-chew. The site is 
on a hill, commanding a view from City 
Hall to the sea, and, like any average 
couple, they're waiting for FHA to come 
through with a loan. Their ideas of what 
they want and don't want are well- 
defined. Not a mansion, predicated on 

JANUARY, 1942 

possible future earning power, but a 
seven-room house whose carrying charges 
they can afford now. A paneled living 
room to be lived in. A knotty pine 
kitchen with a huge oak table in the 
center, because everybody likes to hang 
around the kitchen, especially Jane. 

To Jane the house, whose foundations 
are yet to be laid, is a vivid actuality. 
To Ronnie, it's a set of blueprints. 
Standing on the sagebrush-covered lot, 
Jane's eyes will focus on a given point. 
"What kind of drapes shall we have at 
those windows?" 

"What windows?" 

"Over there. The living-room win- 
dows — " 

"Are you feeling all right?" 

"Oh Ronnie, that's where the living- 
room windows'll be!" 

"Look, honey, would you mind letting 
me see the windows once before we 
start covering 'em?" 

This story revives in Jane the memory 
of old wounds. "I can understand his 
not being interested in drapes. Anyway, 
at this point. What I can't swallow is 
his attitude toward my clothes. On our 
honeymoon I said, 'We've been married 
two days and I'd kind of like to know 
what you like and what you don't. Will 
you come with me to pick out a swim 
suit?' He said, 'I'm busy, I have to 
play golf.' 

"Once in a while I'd drag him into a 
hat shop — why, I don't know. He'd sit 
behind a newspaper and say mm. If 
I bought the hat myself and tried to get 
a reaction, he'd go whew! He seems to 
think it's a man's privilege to go whew! 
and that a woman's supposed to know 
she looks all right. I broke him of that, 
though. Now he says, 'My, it's pretty.' " 

"A woman," said Ronnie, "should be 
satisfied with the gleam in a man's eye. 
The gleam in a man's eye should be 
more flattering than a lot of meaningless 
language. While we're on the subject 
of shopping, let me put in my oar. When 
I want to buy a pair of shoes nowadays, 
I have to fold my tents like the Arabs 
and silently sneak away." 

"That's not so!" 

"My turn. Mrs. Reagan. It used to be 
that I wanted a pair of brown shoes. 
I went out and bought a pair of brown 
shoes and that was that. But my wife 
believes in shopping. The only thing she 
likes better than a women's clothing 
store is a men's clothing store. So she 
goes along. I try on not one but thirty 
pair of brown shoes. By the time I get 
through trying on brown shoes, my 
socks are worn out. Then she sees a 
robe, then she sees a sweater, then she 
sees socks and ties and dungarees. I've 
got a robe and a sweater and ties and 
socks and dungarees. 

"Sometimes I think I'm getting away 
with murder. When it comes to funda- 
mentals like suits and babies, I find out 
who's boss. I think Jane started talking 
about a baby a day after we were mar- 
ried. I wanted one, too, but I used all 
my male logic to persuade her that every 
young couple ought to wait a year. She 
agreed I was right as usual and she was 
wrong. So we had a baby." 

THIS event provided Ronnie with some 
of his choicest glimpses into the mys- 
teries of feminine psychology. They were 
driving downtown one day before Mau- 
reen Elizabeth's arrival, talking of noth- 
ing in particular, when the peace was 
shattered by a wild sob from Jane. 

"Good lord, honey, what's wrong? 
What did I say—?" 

"No-nothing — " 

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delightful, the color beautiful. Brian 
Aherne is lost in a character unsuited 
to his fine talents. The performance of 
Raymond carries more sincerity than any 
of the others. 

another between Clark and Lana — that 
is, if that's what they paid their money 

Your Reviewer Soys: Hot stuff. 

Your Reviewer Says: For MacDonald fans. Sailors On Leave (Republic) 

^ Dumbo (Walt Disney-RKO) 

It's About: A little elephant that discov- 
ered he could fly. 

A LL the whimsical charm that Walt 
''Disney has showered on his past fan- 
tasies is embodied in this heart-touching 
story of "Dumbo," the baby elephant who 
was spurned and despised because of his 
enormous ears. 

Then, one day, "Dumbo" and Timothy 
Q. Mouse, a rodent friend, accidentally 
drank some giggle water and after a night 
of pink elephants found themselves up in 
a tree. To their astonishment, they 
learned "Dumbo" had flown there and 
the following night when the ringmaster 
prepared to make a monkey of poor 
"Dumbo," he threw everyone into a 
panic by taking off and flying himself 
into stardom. 

Cliff Edwards is the voice of Jim Crow, 
the gay old bird, and Sterling Holloway 
is the Stork. 

It's appealing, funny and tragic in 
turn and drawn to beautiful perfection. 

Your Reviewer Says: A novelty of great 

^ Target For Tonight 

(Warners' release of a British 

Government film) 

It's About: The Royal Air Force in action. 

| T is the tremendous simplicity, straight- 
' forward honesty in telling that makes 
this story of the R.A.F. one of the 
strongest war documents ever filmed. 

The story tells of a raid on Nazi oil 
tanks from the time air photographers 
have spotted the target to the moment 
the boys hover over the spot in their 
huge death-dealing bombers. Boys of the 
R.A.F. and officers of the station are the 
only actors, going through their routine 
actions calmly, coolly, matter-of-factly. 
A certain Scotch lad, with his cool nerve 
and quaint brogue, caught the eye of the 
Hollywood preview audience. 

The actual bombing crew are all mem- 
bers of the "F for Freddie" six, who have 
already made more than 200 flights over 
Germany and are known throughout 
England for their quiet courage. 

We consider this hour-long picture one 
of the greatest of its kind and urge 
everyone to see it. 

Your Reviewer Says: Tremendous. 

Honky Tonk (M-G-M) 

It's About: An unscrupulous he-man of 
the old West. 

"UONKY TONK" rambles and it ram- 
n bles, and it gets nowhere, but in its 
circling it does manage to gather up 
Lana Turner and Clark Gable and give 
them a twirl on the usual sexy old 

Gable is a Western con man who 
makes his living off "suckers." He and 
his pal Chill Wills get elected the big 
bosses of a Western town, tax the people 
into rebellion and escape with their 
hides, their unreformed minds and little 
else; except, of course, Lana, daughter 
of Frank Morgan. 

But the customers will get their 
money's worth out of one embrace after 

It's About: Sailors who try to promote 
the marriage of a pal for financial reasons. 

DILL LUNDIGAN has spun a fanciful 
O yarn of an inheritance due him on a 
certain date and his pals, who have 
loaned him money on the strength of 
it, want him to marry before the dead- 

They decide night-club singer Shirley 
Ross is to be the girl. After many comi- 
cal interludes, supplied by Chick Chand- 
ler and Cliff Nazarro, and after many 
trials and man-sized tribulations, -Bill 
and Shirley — well, anyway, it's a cute 

Your Reviewer Says: Sailor — beware. 

Never Give A Sucker An Even 
Break (Universal) 

It's About: A writer's attempts to sell a 
screen story. 

I N this picture Bill Fields attempts to 
* sell a screen story he has written to 
a producer. In real life he did; he sold 
this one to Universal, but it isn't funny 
to anyone but Fields fans. 

It seems to this reviewer, if Mr. Fields 
would kindly forget his yen for author- 
ship and get back to his Mr. Micawbers 
this would be a happier world. 

Little Gloria Jean is a bright spot in 
the goings-on and Franklyn Pangborn 
swipes a few scenes here and there. 

Your Reviewer Says: Strictly a Fields day. 

Mercy Island (Republic) 

It's About: A successful attorney who be- 
comes obsessed with a desire to condemn 
a fugitive. 

|_| ERE is one of those psychological 
*' tales of a man who lets himself be- 
come eaten with one desire — to return 
to justice Otto Rruger, a surgeon who 
has been hiding in the Florida Keys. 

Anyway, Ray Middleton, a successful 
attorney, his wife Gloria Dickson and 
others are swept ashore in the Keys and 
from the minute Middleton discovers 
Kruger, a surgeon who gave a merciful 
drug to a condemned convict, he goes 
mad with the desire to turn in Kruger. 

Middleton is pretty good, too. and the 
climax of the story well worked out. 

Your Reviewer Says: Not bad. 

Down Mexico Way (Republic) 

It's About: Bad men who get caught by 
good men. 

GENE AUTRY fans step forward! All 
others may leave the room if they 
so desire, because this movie is of Autry. 
for Autry, by Autry, a brave and fear- 
less lad who, when he discovers his 
townsfolk have been gypped by a band 
of crooked movie promoters, rides right 
over into Mexico to round them up. 

There he finds them at the same old 
racket and with the police on motor- 
cycles and Gene on his horse he snags 
them, but good. 

Fay McKenzie is pretty and talented 
as Autry 's new leading lady. 

Autry fans will be thrilled to the mar- 
row of their bones. They should be. 

Your Reviewer Soys: Look at that guy ride. 
photoplay combined with movtf ^iirror 

Speak for Yourself 

(Continued from page 6) the sofa wakes 
up and accompanies her perfectly and 
all the people around know all the 
words and join in, even though Nelson 
Eddy has just finished composing the 
song for her. 

If I try to brighten my dishwashing by 
bursting into song, someone in the next 
room says, "There's such an awful 
draught I think I'll close the door," or 
"Let's turn on the radio, there must be 
something bet — I mean good on." 

When Don Ameche comes home after 
a hard day of inventing things, he kisses 
Loretta Young tenderly and murmurs, 
"Mmm! Dearest, the thought of you here 
waiting patiently makes all the struggles 
and disappointments of the days seem 
unimportant; you make it all so worth 

When Bill comes home at six he gives 
me a quick kiss and says, "Mmm! You've 
been eating onions. How soon will dinner 
be ready?" 

When Charles Boyer discovers how 
unjustly he has accused the light of 
his life, he murmurs pleadingly, "Dar- 
ling, I've been a blind, stupid fool! Can 
you ever forgive me?" and then he kisses 
her until the Hays Office and I both 
swoon — but for different reasons. 

When Bill finds out that I didn't do 
something he said I did, he barks, "All 
right, all right, so I was wrong! Can't 
we talk about anything else?" 

I like the movies. 

E. H. Church, 
Woburn, Mass. 

$1.00 PRIZE 
It's Happened! 

CHEERS for Miss Bishop! Cheers 
^" and more cheers! After long waiting 
and hoping, it's a grand and glorious 
feeling to meet in the movies a school- 
teacher of the female species who is hu- 
man. From the pedantic, absent-minded 
school mistress with shell -rimmed glasses, 
a sort of feminine Ichabod Crane, who 
appears in features, to the dreadful 
creature of the comics, flourishing a ruler 
in one hand and a dunce cap in the other, 
we've been grossly misrepresented. 

I was almost ready to suggest the role 
of a deep-dyed villain for one of us — a 
good villain is preferable to a bad carica- 
ture any day! Then along came Mr. 
Chips, and we took hope. And now — it's 
happened! Miss Bishop is human and at- 
tractive. We are deeply grateful, for, 
after all, we're just folks, who sometimes 
have cars and fur coats and sometimes a 
mother or an aunt to support; who dance 
on Saturday nights and attend church on 
Sundays; who like laughter, but are not 
unacquainted with tears. 

Annie Laurie Von Tungeln, 
Tulsa, Okla. 

$1.00 PRIZE 
Family Revolution 

kA Y husband's being away on defense 
' ' * work makes time drag for me, liv- 
ing with the family. So the other night I 
said, "Folks, let's go and see "Hold Back 
The Dawn.' " 

"Isn't that Charles Boyer?" said my 
young brother. 

"It is," I answered. 

"Gimme Spencer Tracy," he said. 

"And give me Robert Taylor," said my 

Mother pondered. "There was some- 
thing about James Stewart — " she began, 
but Dad cut in. 

"James Cagney should be seen more 
often upon the screen," said he judicially. 

JANUARY, 1942 

"But I'm bored," I wailed. 

"Oh, very well," said the family. 

Hours later we returned and sat quiet- 
ly in the living room. 

"Spencer Tracy used to be my favorite 
actor," said little brother thoughtfully. 

"There is something about Charles 
Boyer — " began Mother, but my sister, 
rousing from a dream, said, "I wonder 
what he'll play in next?" 

"Who?" I asked. 

"Why, Charles Boyer," chorused the 

And Dad, rising and glancing at the 
clock, said, "Charles Boyer should be 
seen more often upon the screen." 

And so to bed. 

Ellen M. Jaeger, 
El Paso, Tex. 

$1.00 PRIZE 
Well, Why Go On? 

WE are, quite wisely, making every 
effort to win the good will and ap- 
proval of the South American countries. 
How do the inhabitants of these countries 
get their impressions of us? Largely 
through the movies. 

And what impressions they must get! 
The general idea of such popular pic- 
tures as "Meet John Doe," "Grapes Of 
Wrath," etc., is that anyone with more 
than a dime in his pants' pocket is a 
cruel, scheming scoundrel. 

Other impressions — our aviators are 
chiefly concerned with women, flying be- 
ing only secondary. The life of our sol- 
diers and sailors is largely custard-pie 
comedy. Our women are beautiful but of 
dubious virtue. We spend most of our 
time dancing and singing. Our factories 
are full of spies. In sections where cow- 
boys aren't shooting each other up, 
crooks are. 

But why go on? Is it any wonder that 
South America hesitates to accept us as 
the shining knights of the North? I say, 
why not have some movies that show 
us as we really are? I think we're really 
quite nice people. 

Marion Goodwin, 
Andover, N. Y. 


I UST recently in a daily movie column 
-' published in our newspaper I read that 
the publicity men of the movies were 
trying to "blitzkrieg" the interesting 
articles in your much-read magazine that 
are so forcefully written by your con- 
tributor "Fearless." 

"Fearless" is giving readers the truth. 
I look for it immediately when I read 
your fine magazine. I'm sure others look 
for the monthly article, too. Certainly 
truth is more interesting and more gla- 
morous — truly it is "stranger than fiction." 

So keep on publishing those articles. 
Don't let them make you afraid, "Fear- 

Mrs. B. Hoffmann, 
Wichita, Kan. 

Kl OT long ago I saw the movie "Blood 
' ^ And Sand," in which Rita Hayworth 
was one of the stars. I thought she was 
splendid in the whole show except for 
one thing: her singing. It's terrible and 
if she always sings like that, please tell 
her for me to stick to dancing. There 
she was, looking so beautiful and swaying 
so alluringly, that naturally you expected 
a lovely husky voice to do the vocal, but 
horror of horrors, there emerged a shrill 
pip squeak. 

Mrs. W. W. Jackson, 
Shreveport, La. 


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{Continued jrom page 57) isn't a nat- 
ural fighter and he finally got raised to 
a decent salary only after he had threat- 
ened to quit and because he had become 
so valuable Paramount could no longer 
ignore his entirely just demands. 

Bill Holden started for an even lower 
wage than Fred, supposedly for a mere 
$50, was allowed to be discovered for 
"Golden Boy" (actually he was loaned 
out to Columbia by Paramount for plenty 
of hay) , give a fine performance and gar- 
nered plenty of publicity, thereby in- 
creasing his potential value, and yet had 
to fight violently and verbally to get his 
contract increased. 

Right there is where the bonus dicker 
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he gets, if he is restive and noisy enough 
about it, a "bonus." This is real and not 
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I T sounds good and it looks good and 
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become through his own ability. 

As, for instance, consider the cases of 
Robert Taylor vs. Buddy Rogers. Both 
began as glamour boys at low salaries. 
The initial appeal of both of them was to 
the ladies. Bob Taylor began at $35 a 
week, Buddy at $75. The difference in 
the two careers came in the fact that 
Bob, through shrewder management and 
through a studio that more quickly re- 
wards its young players, got almost im- 
mediately into real dough (through his 
original contract's having been scrapped), 
while Buddy Rogers was carted around 
this country, displayed to the girls, made 
"America's Boy Friend" but never once 
given a worthy contract or put into a 
strong picture to follow his initial break 
in "Hell's Angels." His vogue died be- 
fore he could cash in on it. 

This would seem to indicate that it is 
smartest to make a good fat contract at 
the start, but this can work both ways. 
Nancy Kelly, a great hit on the Broadway 
stage, was brought to Twentieth Century- 
Fox at $900 a week at the same time that 
Linda Darnell was brought at $75 (the 
usual starting salary, incidentally). Nancy 
got all the initial publicity, all the big 
roles, but she didn't click as expected 
and thus, in a few months, she began to 
get "between pictures." Linda looked so 
beautiful on screen that her loveliness 
was all that was necessary, while she was 
getting time, off screen, to learn acting 
and to grow up. Meanwhile, for every 
week Nancy wasn't before the cameras, 
those $900 were piling up. A producer 
who might want her would look at the 
books, see that to have her in his cast 
would mean he had to start with some 
$10,000 to $15,000 of Nancy's back salary 
charged against his budget. Therefore, 
he would turn to the equally young, very 
lovely and delightfully inexpensive Linda 
or to Brenda Joyce, who also fitted all 
those adjectives. Brenda Joyce got her 
chance in "The Rains Came" not half so 
much because she is a delightful girl and 
the studio wanted to see if she could be 
put across, as it wanted to do something 
about a pay roll already top-heavy with 
the salaries of Tyrone Power and two 
"borrowed" players, Myrna Loy and 
George Brent. Supposedly Warners got 
$150,000 for Brent in that one, though 

Brent continued to get merely his $2,000 
a week Warner salary. 

Because Joyce and Darnell were so 
inexpensive to cast they worked con- 
stantly. Therefore, not a nickel of back 
salary accumulated against them, while 
Nancy Kelly began to get strangled by 
her own good contract. 

Exactly this happened with Patricia 
Morison, also from the New York stage, 
also brought out for about $1000 weekly. 
Pat got the casting and the publicity — 
at first. Then she got stymied and now 
she is slowly climbing back. As she 
is really a very good actress, she will 
undoubtedly click this time. 

But Veronica Lake! Well, there you 
have it. The Lake came in for nickels 
and dimes and has done everything wrong 
ever since, given the wrong interviews, 
sassed producers, stopped for marriage 
and to have a baby. Yet none of it can 
hamper her for that simple, mysterious 
reason that she has what it takes. Her 
chance in "I Wanted Wings" was as noth- 
ing against Brenda Joyce's chance in 
"The Rains Came." The differential was 
that there is a compelling something in 
Miss Lake that is not in Miss Joyce. The 
one girl has showmanship and the other 
hasn't, and so the Lake contract has been 
torn up and a new one substituted, while 
Brenda Joyce, a charming, co-operative, 
delightful but not too compelling girl, 
works less and less regularly. 

For the truth about Hollywood salaries 
is that a producer, like any other mer- 
chant, will pay what he has to and not 
one cent more. A dozen factors can come 
in to affect salaries either up or down. 
Ronnie Colman, when he made "Under 
Two Flags," got $100,000 and insisted 
upon top billing, even though his co- 
star, Claudette Colbert, getting $150,- 
000, was accustomed, because of her 
sex, to the usual movie courtesy of top 
billing over any man star. Yet last spring, 
because of an existing contract with 
William Hawks, Ronnie made "My Life 
With Caroline" for $50,000 and that turned 
out so badly that it will undoubtedly de- 
press his salary on his next picture. 

Reversely, a Vic Mature can go to New 
York and hit in a Gertrude Lawrence 
play and come back worth his weight (a 
lot of weight that is!) in gold. 

Given breaks like that all the actor has 
to do is to be a riot. Because Hollywood 
is just like Jones Corners in this respect. 
Actors moan about "not getting my 
chance" but they actually do get it con- 
stantly. John Hubbard started out with 
Vic Mature at Roach's and at a much 
better salary and in much better roles. 
But two studios are not battling over 
John's contract, with one paving off the 
other to the tune of $80,000 as Twentieth 
Century-Fox has just done to secure 
Vic's exclusive services. And Clark Gable 
played extra in "The Painted Desert" of 
which William Boyd was the star. Yet not 
so long ago there was the classic instance 
of Mr. Gable's refusing to be loaned to 
Selznick for "Gone With The Wind" un- 
less he could loan himself. No "deal." 
no "bonus" for Mr. Sex Appeal. He 
dictated his own terms: $7,500 a week 
for a flat six months, over and above his 
regular M-G-M salary. He got it, and 
then worked twenty-nine days! 

And that, dear kiddies, is why Vivien 
Leigh got discovered — because Selznick 
had to have a low salary somewhere 
around the cast. But Miss Leigh was 
very very good, and Gable was very good 
also and as for the picture, it was terrific 
and everybody connected with that one, 
including the bookkeepers, has lived hap- 
pily ever after. 

The End 


Resolutions the Stars Should Make 

(Continued from page 21) give him re- 
makes like that outmoded story? Why, 
Spence cut his eyeteeth on things like 
that in his old stock days. And for 
heaven's sake, keep on rolling in the 
neurotics for Bette Davis — and don't 
waste her on any more cactus bushes. 

Jean Arthur should set her heart on 
doing another picture with Frank Capra 
like "You Can't Take It With You." And 
let's insist that Capra make three pic- 
tures a year always. 

Joan Crawford should resolve to get 
another picture like "A Woman's Face" 
and she'll stay right up there on top and 
keep on adopting children. 

Let's bring Stirling Hayden back to 
the screen and send Madeleine Carroll 
back to England to star in a picture for 
the British War Relief. 

Let's resolve, if more goodwill is 
needed in South America, that men like 
Buddy De Sylva put on a musical show 
down there with Mickey Rooney and 
Bob Hope acting in it and Jeanette Mac- 
Donald and Irene Dunne doing the sing- 
ing. And in return for Carmen Miranda, 
let's give them one picture starring Fred 

JOAN FONTAINE should stop putting 
on the gloves with her producer, David 
Selznick, and take his advice. But for 
him, she might still be known as Olivia 
de Havilland's baby sister, instead of 
Joan Fontaine, star of "Rebecca" and 

Resolved that the producers keep on 
giving Roz Rossell good parts this year, 
just as they did last, even though she's 
no longer under contract to Metro - 

Hedy Lamarr should resolve to keep 
away from those law suits. Nothing bores 
the public so quickly, except perhaps 
too many divorces. 

Here's hoping that Charles Boyer will 
stay as sweet as he is. But he'll never 
make the money for producers that he 
should so long as his female fans insist 
upon taking their lunch and dinner to 
the theater and sitting through a whole 
day of Boyer — then go home raving, 
which makes their husbands so mad that 
they won't go to see a picture for a 

Resolved to give Louis B. Mayer a pat 
on the back for knowing how to develop 
young stars, especially the children, and 
for not holding back talent or salary for 
Virginia Weidler and little Jackie Horner. 

And, oh Lord, keep that raging, fight- 
ing Irish spirit in Jimmy Cagney. And 
if Ann Sheridan is possessed to have 
George Brent, for heaven's sake, give 
him to her. 

Resolved that in this year of grace 
1942 Eddie Albert devote all his time 
to his art, instead of giving it away and 
being thrown to the lions. 

My last year's resolution still goes 
for Paulette Goddard. Having filled her 
jewel case with diamond bracelets and 
knickknacks, and her home with paint- 
ings, she can still take care of herself. 

GRANT us, oh Lord, that Cary Grant 
stands firm and remains a bachelor. 
After all, we must have one star who 
makes our hearts go pit-a-pat and keeps 
our arteries from hardening. I could do 
the same flutter over Gary Cooper, but 
he's been an old married man lo these 
many years. Don't think we need reso- 
lutions for Gary, 'cause he's like Old 
Man River — just keeps rollin' along. 

Because our Negro pictures weren't 
successful in the past, let's not be afraid 
to try again. I'd like to see Paul Robe- 

JANUARY, 1942 

son, Marian Anderson, Dorothy Maynard, 
Rochester, Wonderful Smith, Hattie Mc- 
Daniel, the Hall Johnson Choir, Ethel 
Waters, Todd Duncan, Duke Ellington 
and all the rest of them go to town in a 
picture written and produced by Buddy 
De Sylva, with music by Jerome Kern. 

Let's give Marlene Dietrich another 
with Director Mitch Leisen, which will 
co-star Jean Gabin, with story written 
by Erich Remarque. 

And a cheer to the youngsters like 
Deanna Durbin, Judy Garland, Kathryn 
Grayson and Gene Tierney for giving 
their marriages the dignity which goes 
with that solemn occasion. 

Ann Sothern made 1941 very exciting 
and I predict before 1942 is finished she'll 
resolve herself right into position as top 
star on the Metro lot — and she deserves 
the place. 

Now that John Carroll has taken off 
his mental diapers and put his mentality 
into long trousers, he's going places. And 
if someone could persuade Victor Ma- 
ture to forget that he was ever called 
"a beautiful hunk of man," maybe he 
could learn to live up to the title of 
actor and earn the salary he's getting. 
Remember Edwin Booth made acting a 
dignified and honorable profession. 

Gene Tierney should insist on two 
weeks' vacation between pictures. She's 
going too fast for her age and consti- 

RESOLVED that Linda Darnell mix a 
little fun and romance into her very 
busy schedule. All work and no play 
keeps her acting routine instead of 

Resolved that Darryl Zanuck take 
Tyrone Power out of the American heel 
class and just once in a while let us 
see the boyish quality he was born with 
and still retains. Also, that Cesar Ro- 
mero get better parts. 

Resolved that when Bob Montgomery 
returns from London the industry should 
give him a little credit, instead of wait- 
ing for the public's cue. 

Resolved to find another part for Mar- 
garet Sullavan as good as "The Shop 
Around The Corner." If given parts 
worthy of her, she could be a truly great 

Resolved that a portion of our next 
lend-lease bill will be fifty percent of 
the Hollywood earnings of our English 
colony — except for Cary Grant and a 
few more who have already donated 
more than half. 

Now that Betty Field has shown her 
versatility by playing a gangster's moll 
in "Blues In The Night" and Cassie in 
"Kings Row," let's give her a place in 
Hollywood comparable to that of Ida 
Lupino and Bette Davis. 

Martha Scott, just after she had got 
her foot in "Heaven," heard the flapping 
of wings. No, not angels' — the stork's. 
But don't let that happen too often, 

Resolved that in 1942 Orson Welles 
should save his money, because luck like 
his can't last forever. 

Resolved that Mary Pickford in this 
year should start an unknown up the 
ladder of fame and teach her all the 
things that made Mary America's Sweet- 
heart. In that way she'll find happiness 
and be an inspiration for the millions 
who still call her Sweetheart. 

And resolved that Will Hays should 
give back the sweaters to the poor shiv- 
ering girls who can wear 'em and return 
the fire hydrants to the dogs in movies. 

And to all of you a happy New Year. 
The End. 

su ;z ers PSORIASIS 



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"See" Carmen Miranda 
sing. "My singing is 
as much with my hands 
as my voice," she says 


' >k 

\ V 


' "."'■ 

. * t 

To take advantage 
of some free hand- 
outs reserved for 
them and them alone 

Miranda makes her 
hands work for her 
just as expressively 
off screen as on 


If you want a nice handout for free, 
go watch Carmen Miranda, Brazilian 
bombshell. You'll get a few tips on 
how a lady can make her hands say 
things she wouldn't be caught whis- 
pering. Incidentally, if you get your 
ticket bought for you, you'll probably 
get another kind of handout, too, if 
your ticket-buyer's the type who goes 
for holding hands while he watches 
Miranda in "Week End In Havana." 

Nice work if you can get it; one 
way to get it is to keep your hands 
soft, which is just a matter of cream- 
ing, creaming and creaming again. Go 
to bed at night with your little digits 
well covered with hand cream and a 
pair of cotton gloves . . . take a tip 
from your doctor and push your 
cuticle back with the towel when you 
wash your hands . . . and keep the 
cuticle smooth by daily chores with 
cuticle remover and soft brush . . . 
use hand lotion every time you put 
your hands in water and as many 
other times as you think of it. 


... as a snappy handout in return 
for the sweaters, or socks, or scarfs 
you'll earnestly knit them this winter. 
American hands are busy now, flash- 
ing over khaki wool, and when that 
private, or sergeant, or top sergeant 
(if you're lucky!) wears the sweater, 
he thinks sweet thoughts of how 





"If something is important to you, 
you take care of it, so I take care 
of my hands." Fast handwork comes 
to light in "Week End In Havana" 

pretty you look knitting. 

Well, do you? Red hands don't be- 
long in the knitting brigade. Since 
your hands are in the spotlight, keep 
them white with hand cream or lo- 
tion ... if they're in need of long 
hard work before they're presentable, 
make them up for the time being as 
you would your face, with a founda- 
tion cream and a light dusting of 
talcum . . . and if your mittens aren't 
warm enough and you find youi'self in 
the red so far as hands go, just hold 
your hands up over your head when 
you take your gloves off. That way, 
the blood is taken from them and 
they'll turn lily-white in a couple of 


. . . for all the bandages you'll roll 
for them in your spare hours. Now 
you may be able to roll more band- 
ages per minute than your sister 
workers but that won't mean a thing 
if your hands are rough. Rough edges 
on nail or cuticle still slow you down 
... so keep your nails pliable by 
soaking them in nail oil often (Mi- 
randa swears by this procedure) . . . 
smoothing them (not daily filing — it 
wears them down) with an emery 
board . . . digging your hands in a 
cake of soap before starting any heavy 
work to keep your nails from chip- 


ping. Put on two coats of nail polish, 
natural shade underneath if you pre- 
fer, and watch your manicure last. 


It happens once in a lifetime; now 
that you have it what are you going 
to do with it? Well, for one thing, 
you're going to be able to concen- 
trate on it because you're not going 
to be bothered with how your hands 
look . . . that is, you're not, if you've 
been sure to use nail white constantly 
under your nails . . . that way you can 
clean them easily because the grit 
clings to the cream, is taken out read- 
ily, doesn't get into the surface of 
the nails themselves. 


Sometimes a handout like this 
sneaks up on you. so be prepared and 
when you hold out that third finger, 
left hand, be sure it's going to do 
justice to what's going on it. Which 
means you do everything you've just 
read, that you remember, too, to keep 
your hands supple and graceful by 
exercising them. There's an easy an- 
swer to the exercise problem . . . 
when you have a minute alone just 
relax your hands and shake them 
loosely as hard as you can. 

Better watch out or before you 
know it you'll be just like Miranda! 

PHOTorLAY combined with movie mirror 

Casts of Current Pictures 

Story by Cortland Fitzsimmons and Kenneth Hig- 
gins. Directed by LeRoy Prinz. Cast: Virginia. 
Frances Langford; Bob Sheppard, Johnny Downs; 
Bunny, Marjorie Woodworth; Slinky, Noah Beery, 
Jr.; 'Matilda, Esther Dale; Hap Holden, Harry 
Langdon; Tiny, Alan Hale, Jr.; Henry, Kent 
Rogers; 2nd Senior, Allan Lane; 3rd Senior, Joe 
Brown, Jr.; Doctor, Irving Mitchell; Washwoman 
(Deborah), Lillian Randolph; 4th Senior, Carlyle 
Blackwell, Jr. 

Screen play by Bruce Manning and Felix Jackson. 
Based on the story by Ladislaus Bus-Fekete. 
Directed by William A. Seiter. Cast: Andre Cassil, 
Charles Boyer; Jane Alexander, Margaret Sulla- 
van; Nancy Benson, Rita lohnson; George Hast- 
ings, Eugene Pallette; Edith Meredith, Ruth Terry; 
Michael Dailcy, Reginald Denny; O'Leary, Cecil 
Kellaway; Timothy, J. M. Kerrigan; Dr. Gunther, 
Roman Bohen; Gus, Gus Schilling; Xora, Virginia 
Brissac; Martha, Mary Gordon. 

"DOWN MEXICO WAY"— Republic. Screen 
play by Olive Cooper and Albert Duffy. Based on 
a story by Derrell and Stuart McGowan. Directed 
by Joseph Santley. Cast: Gene, Gene Autry; Frog, 
Smiley Burnette; Maria Elena, Fay McKenzie; 
Pancho Grande, Harold Huber; Gibson, Sidney 
Blackmer; Allen, Joe Sawyer; Mayor Tubbs. An- 
drew Tombes; Flood, Murray Alper; Gerard. 
Arthur Loft; Juan, Duncan Renaldo; Davis, Paul 
Fix; Don Alvarado. Julian Rivero; Mercedes, Ruth 
Robinson; Capt. Rodriguez, Thornton Edwards, 
and The Herrera Sisters. 

"HONKY TONK"— M-G-M. Screen play by 
Marguerite Roberts and John Sanford. Directed by 
Jack Conway. Cast: "Candy" Johnson. Clark Gable; 
Elizabeth Cotton, Lana Turner; Judge Cotton, 
Frank Morgan; "Gold Dust" Nelson, Claire Trevor; 
Mrs. Vamer, Marjorie Main: Brazos Heam, Al- 
bert Dekker; Daniel Wells. Henry O'Neill; The 
Sniper, Chill Wills; Pearl, Veda Ann Borg; Gover- 
nor IVilson, Douglas Wood; Mrs. Wilson, Betty 
Blythe; Harry Gates, Harry Worth; Blackie, Lew 

"HOT SPOT"— 20th Century-Fox. Screen play 
by Dwight Taylor. From the novel by Steve Fisher. 
Directed by Bruce Humberstone. Cast: Jill Lynn. 
Betty Grable; Frankic Christopher, Victor Mature; 
Vicky Lynn, Carole Landis: Ed Cornell, Laird 
Cregar; "Jerry MacDonald, William Gargan; Robin 
Ray, Alan Mowbray; Larry Evans. Allyn Joslyn; 
Harry Williams, Elisha Cook, Jr.; Reporters, Chick 
Chandler, Cyril Ring; Asst. District Attorney, 
Morris Ankrum; Florist, Charles Lane; Caretaker, 
Frank Orth; Hcad-vaitcr, Gregory Gaye; Mrs. Han- 
del, Mae Beatty. 

Century-Fox. Screen play by Philip Dunne. Based 
on the novel by Richard Llewellyn. Directed by 
John Ford. Cast: Mr. Gruffydd, Walter Pidgeon; 
Anqharad, Maureen O'Hara; Mr. Morgan, Donald 
Crisp; Bronwyn, Anna Lee; Hutu, Roddy McDow- 
all; lanto, John Loder; Mrs. Morgan, Sara All- 
good; Cyfartha. Barry Fitzgerald; Ivor, Patric 
Knowles; Welsh Singers, Themselves; Mr. Jonas, 

Brian Donlevy makes a direct hit on 
the box-office fence without any 
hitching of wagons to stars in Para- 
mount's "The Remarkable Andrew ." 
In an Andrew-Jackson costume, he 
does some lot-pacing with Ellen Drew 

JANUARY, 1942 

Morton Lowry; Mr. Parry, Arthur Shields; Cein- 
wen, Ann Todd; Dr. Richards, Frederick Worlock; 
Davy, Richard Fraser; Gwilym, Evan S. Evans; 
Oti'f», James Monks; Dai Bando Rhys Williams; 
Mervyn, Clifford Severn; Evans, Lionel Pape; Mrs. 
Nicholas, Ethel Griffies; Motshcll, Dennis Hoey; 
Iestyn Evans, Marten Lamont; Meillyn Lewis, Eve 
March; Ensemble Singer, Tudor Williams. 

Screen play by Howard Estabrook. Original story 
by E. Lloyd Sheldon and Jack DeWitt. Directed by 
Tim Whelan. Cast: Tim Hanley, George Brent; 
Carta Nillson, Ilona Massey; Reggie Oliver, Basil 
Rathbone; Sidney Grenner, Gene Lockhart; Web- 
ster, George Zucco; Dr. Rowan, Francis Pierlot; 
Bruner, Martin Kosleck; Tetlow, Charles D. 
Brown; Mrs. Grenner, Marjorie Gateson; Moul- 
ton, Leland Hodgson; Sewell, Clayton Moore; 
Dcnby, Gordon DeMain; Sir Henry, Frederic Wor- 

Screen play by John Huston. Based on the novel 
by Dashiell Hammett. Directed by John Huston. 
Cast: Samuel Spade, Humphrey Bogart; Briuid 
O'Shaughnessy, Mary Astor; lva Archer, Gladys 
George; Joel Cairo, Peter Lorre; Lt. of Detectives 
Dundy; Barton MacLane; Effie Ferine, Lee Patrick; 
Kasper Gutman, Sydney Greenstreet; Detective 
Tom Polhaus, Ward Bond; Miles Archer, Jerome 
Cowan; Wilmer Cook, Elisha Cook, Jr.; Luke, 
James Burke; Frank Richman, Murray Alper; 
Bryan, John Hamilton. 

"MEN IN HER LIFE, THE"— Columbia. 
Adapted by Fredrick Kohner, Michael Wilson and 
Paul Trivers from the original by Lady Eleanor 
Smith. Directed by Gregory Ratoff. Cast : Lina 
Varfavina, Loretta Young; Stanislaus Rosing, 
Conrad Veidt; David Gibson, Dean Jagger; Marie, 
Eugenie Leontovieh; Roger Chevis, John Shepperd; 
Victor, Otto Kruger; Manilov, Paul Baratoff; 
Rose, Ann Todd; Nurdo, Billy Reyes; Madam 
Okenkova, Ludmila Toretvka; Lina's dancing 
partner, Tom Law. 

"MERCY ISLAND"— Republic. Screen play by 
Malcolm Stuart Boylan. From the novel by Theo- 
dore Pratt. Directed by William Morgan. Cast: 
Warren Ramsey, Ray Middleton; Leslie Ramsey, 
Gloria Dickson; Dr. Sanderson. Otto Kruger; Clay 
Foster, Don Douglas; Captain Lozve, Forrester Har- 
vey; Wiccy, Terry Kilburn. 

BREAK" — Universal. Screen play by John T. 
Neville and Prescott Chaplin. Original story by 
Otis Criblecoblis. Directed by Edward F. Cline. 
Cast: W. C. Fields. W. C. Fields; Gloria Jean. 
Gloria Jean; Butch and Buddy, Themselves; Mile. 
Gorgeous, Anne Nagel; Franklyn Pangborn. Frank- 
lyn Pangborn; Mrs. Pangborn, Mona Barrie; Leon 
Errol, Leon Errol; Ouliotta Delight, Susan Miller; 
Mrs. Hemogloben, Margaret Dumont; Peter Carson, 
Charles Lang; Steve Roberts, Emmet Vogan; 
Waitress, Jody Gilbert. 

"SAILORS ON LEAVE"— Republic. Screen 
play by Art Arthur and Malcolm Stuart Boylan. 
Original story by Herbert Dalmas. Directed bv 
Albert S. Regell. Cast: Chuck Stephens, William 
Lundigan; Linda Hall, Shirley Ross; Swift y, 
(/hick Chandler; Aunt Navy. Ruth Donnelly; Gwen, 
Mae Clarke; Mike, Cliff Nazarro: Dugan, Tom 
Kennedy; Sadie, Mary Ainslee; Bill Carstairs, 
Bill Shirley; Thompson, Garry Owen; Sawyer, 
William Haade; Sunshine, Jane Kean. 

"SMILIN' THROUGH"— M-G-M. Screen play 
by Donald Ogden Stewart and John Balderston. 
Based on the play by Jane Cowl and Jane Murtin. 
Directed by Frank Borzage. Cast: Kathleen, 
Moonyean Clare, Jeannette MacDonald; Sir John 
Carteret, Brian Aherne; Kenneth Wayne, Jeremy 
Wayne, Gene Raymond; Reverend Owen Harding, 
Ian Hunter; Ellen. Frances Robinson; .Willie. 
Patrick O'Moore; Charles (.Batman), Eric Lons- 
dale; Kathleen (as a child), Jackie Horner; Sexton, 
David Clyde; Dowaqer, Frances Carson; Woman, 
Ruth Rickaby. 

"SWAMP WATER" — 20th Century-Fox. 
Screen play by Dudley Nichols. From the story by 
Vereen Bell. Directed by Jean Renoir. Cast: Ton: 
Keefer, Walter Brennan; Thursday Ragan, Walter 
Huston; Julie, Anne Baxter; Ben, Dana Andrews; 
Mabel McKenzie, Virginia Gilmore; Jesse Wick, 
John Carradine; Hannah, Mary Howard; Sheriff 
Jeb McKane, Eugene Pallette; Tim Dor son. Ward 
Bond; Bud Dorson, Guinn Williams; Marty Mc- 
Cord. Russell Simpson; Hardy Ragan, Joseph Saw- 
yer; Tulle McKenzie, Paul Burns; Barber, Dave 
Morris; Fred Ulm, Frank Austin; Miles Tonkin, 
Matt Willis. 

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Colonel Shiller, Boyd Davis. 



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nspired soda jerker Jane 
Withers who can pull some 
fast tricks with taffy 

I'VE just come back from spending the 
afternoon with Jane Withers and I'm 

all agog — so much so that I might al- 
most head this account of our visit "Brat 
Into Beauty." For beauty is now the 
word for Jane; the chubby, mischievous 
little monkey whose brat impersonations 
I've adored ever since I first saw her on 
the screen has blossomed into a junior 
glamour girl and her next movie role is 
practically a "grownup" one, the star of 
Twentieth Century-Fox's forthcoming 
"Young America." 

More astonishing, though, than Jane's 
emergence into slim, svelte sub-deb love- 
liness is the discovery that she wrote the 
story for her last picture. Perhaps you 
won't find her name listed as the author 
— Jane modestly prefers to hide behind 
a pen name and so far Twentieth Cen- 
tury-Fox has been unable to make her 
change her mind on this point. But 
when you see "Small Town Deb" if 
you read "Screen play by Jerry Wal- 
ters," just take my word for it that 
"Jerry Walters" is Jane's nom de plume 
for her first screen-writing venture. 

Jane herself met me at the door and led 
me upstairs to her "apartment." The 
"apartment" is Jane's own particular 
nook. It is on the top floor of the house, 
where Jane and her gang can romp to 
their hearts' content without upsetting 
the rest of the household. 

The furniture is sturdy, designed for 
comfortable sprawling, and the walls are 
of paneled wood which makes a perfect 
background for draperies and upholstery 
of chintz and cretonne. There's a pint- 
sized piano and a victrola so that Jane's 
cronies can listen to her wonderful col- 
lection of records — classical numbers if 
they're in the mood for them and the 
latest jive if they feel like jitterbugging, 
which they frequently do. 


Best of all, the "apartment" boasts a 
soda fountain (Janie is an inspired "soda 
jerker") and a stove in which the young 
hostess prepares the snacks her guests 

She admits n.odestly that she's a 
"pretty good cook," but it's at candy- 
making that she really shines. 

"You bet I like candy," she told me. "I 
like old-fashioned white taffy and plain 
fudge and caramels and I can make all 

She used to have trouble with taffy, 
but she's proud of the fact that it 
"really taffies now." Perhaps this is the 
reason why the snack frequently turns 
into a good old-fashioned taffy pull. This 
form of entertainment, incidentally, is 
just as popular in present-day Holly- 
wood as it was when your great-grandma 
was a girl, so if you want to be a hostess 
young-Hollywood style, why not stage a 
taffy pull of your own. It's loads of fun 
and easy, too, if you just follow this 
recipe Jane gave me for taffy which 
"really taffies." 

White Taffy 

1 2 cup light corn syrup 

2 cups sugar 
-:; cup water 

1 tsp. vanilla 

Mix together all ingredients except 
vanilla and stir over low heat until sugar 
is dissolved. Cook without stirring until 
a drop of mixture poured into cold water 
will form a hard ball (268 degrees F. on 
candy thermometer) . Remove from heat, 


stir in vanilla and pour onto buttered 

When mixture begins to harden at 
edges, work it with a spatula until it 
is cool enough to handle. Pull until 
light-colored and porous and cut into 


2 squares chocolate 
x 2 cup dark corn syrup 

2 cups sugar 

1 tbl. butter 
l 2 cup milk 

1 tsp. vanilla 

Mix together all ingredients except 
vanilla (the chocolate should be cut into 
small pieces). Cook slowly, stirring con- 
stantly, until boiling point is reached, 
then continue cooking, stirring only 
enough to keep mixture from sticking, 
until a drop tried in cold water will form 
a soft ball (238 degrees F.). Remove 
from heat and allow to cool, then add 
vanilla and beat until thick. Pour onto 
buttered platter and cut into squares. 


1 i> cup light corn syrup 

2 cups sugar 
4 tbls. butter 
1 cup cream 

Vz cup milk 
1 tsp. vanilla 

Mix together all ingredients except 
vanilla and cook until mixture forms a 
soft ball when tested in cold water (238 
degrees F.). Remove from heat, stir in 
vanilla and pour onto buttered platter. 
When almost cold, cut into squares. 

photoplay combined with movie mirror 

Our Most Important 1RMCK 

Not the truck that hauls the big guns 
or moves the army. Not the truck 
that delivers gasoline or moves 
pianos or carries the mail. 

America's most important "truck" 
grows in the garden, the truck garden. 

• • • 

ALL VEGETABLES — especially green 
Ix. and leafy ones, yellow ones, roots 
and kernels — are vital to the nation's 
strength and health. From them come 
needed amounts of Vitamins Aand C and 
many minerals we cannot live without. 
What good would army trucks be if 
the army itself were red-eyed, scurvied 
and anemic from lack of vitamins and 

Fresh, canned, dried or frozen — your 
green and yellow vegetables are health- 
ful and wholesome. Modern packing 
and delivery methods are designed to 
bring them to you with the least possi- 
ble impairment. But you must be care- 
ful in the cooking. Save the juices. 
Don't overcook your vegetables; don't 
add soda. Don't pare away or throw 

away valuable parts. 

And here is where America's cooks 
can add untold values to the nation's 
strength and stamina; the richer, more 
concentrated foods tend to tempt the 
taste. Chocolate fudge is easier to "sell" 
at the table than is spinach. So you, the 
cooks, must find ways to get more 
vegetables eaten. Serve salads, garnish 
your vegetable dishes tastefully, serve 
a variety of them, serve them at two 
meals every day. 

Do this job well and you will contrib- 
ute just as much to the nation's defense 
as any soldier or nurse or statesman. 


It takes only a few kinds of simple foods to 
provide a sound nutritional foundation for 
buoyant health. Eat each of them daily. Then 
add to your table anything else you like 
which agrees with you. 

MILK AND CHEESE — especially for 

Vitamin A, some of the B vitamins, 

protein, calcium, phosphorus. Vitamin 

D milk for the "sunshine" vitamin. 

MEAT, eggs and sea food— 
for proteins and several of 
the B-Complex vitamins; 
meat and eggs also for iron. 

Attractive displays of vegetables, 
special sales and offers of canned 
goods are your dealer's way of help- 
ing to get more vegetables onto the 
nation's tables. Encourage and sup- 
port this program our government 
has for making America strong. 

tables for B vitamins. Vitamin 
A, Vitamin C and minerals. 

FRUITS and fruit juices— for Vita- 
min C, other vitamins and minerals. 

This message is approved by the office of 
Paul V. McNutt, Director of Defense Health 
and Welfare Services. It is brought to you as 
our contribution to National Nutritional 
Defense by Photoplay- Movie Mirror 

BREAD, enriched or whole 
grain, and cereals with milk 
or cream, for B vitamins and 
other nutrients. 

Enough of these foods in your daily diet and 
in the diets of all Americans will assure better 
health for the nation, will increase its ener- 
gies to meet today's emergencies. 

fvod #/// {wi/</a/V£H//1mer/ca 

JANUARY, 1942 


How Not to Trim Your Christmas Tree — Laraine Day 

(Continued jrom page 34) trick sets of 
cosmetics complete with powder base, 
eye shadow, lipstick, powder, cleansing 
cream and tooth paste; (c) two bottles 
of bath crystals; and (d) a utilitarian 
kitchen apron, made by the lily-white 
hands of a well-meaning but thoughtless 

After this recital, Laraine laughed rue- 
fully. "I'm not ungrateful, really I'm not. 
I just can't bear to think of givers spend- 
ing good money on useless gifts. With 
the same amount which, annually, is put 
into frivolous items that become dresser- 
drawer litter, one can buy clever perti- 
nent gifts." 

The best insurance, according to La- 
raine, that one can have against Christ- 
mas' being a deluge of disappointment 
is a tactful mother. One Christmas, 
Laraine's mother gave her a suit. Quiet- 
ly she mentioned this fact to a number 
of relatives and intimate friends who al- 
ways remember Laraine. The result was 
spectacular. One friend gave a match- 
ing purse; an aunt selected a blouse to 
match and one to contrast; Laraine's twin 
brother gave her gloves and half a dozen 
key-toned stockings. How's that for 
making a girl's eyes shine like lighted 

However, the incandescence in La- 
raine's eyes nearly blew a fuse that 
afternoon when a bowl filled with gold- 
fish and little shell castles was delivered 
by messenger. "I've never liked the ex- 
pression of goldfish anyway; they leer 
when they look at you," she says. 

To sum up the grievances listed above, 
it becomes clear that gifts for girls fall 
into three divisions: the "too, too taboo;" 
the "give with restraint" and the "kiss 

me quick, I'm all agog." 

Taboo Gifts 

Taboo are clothes hangers and closet 
gadgets, as well as those gorgeous satin 
envelopes for hankies, nighties, etc., etc., 
unless an extremely adroit campaign has 
been launched to find out the color 
scheme of the person's room. Pets of all 
sorts are out, on the ground that a 
welcome gift expresses a compliment 
but should not impose an obligation. 
Candy, that beloved old standby, is won- 
derful in small quantities, but who ever 
heard of a little candy at Christmas. Any 
girl who has a serious diet afoot is going 
to tell a white lie when she thanks you 
for several pounds of temptation. 

Give-With-Restraint Gifts 

Perfume is a delightful gift only when 
you are positive that you've chosen the 
recipient's pet brand. Recipe for finding 
out pet brand goes like this: Say, "Ah, 
how does a girl manage to smell like 
moonlight and honeysuckle and a pine 
forest at the same time?" She will an- 
swer, "Oh, this is just the last of my 
bottle of Midnight in Arabia." Your cue 
is to run, do not walk, to the nearest 
notebook and write the brand opposite 
the girl's name. 

Stockings, especially in these hazardous 
days, are a gift from the gods, but be sure 
the size is right. Tactic to secure this 
information goes thus: "What slim feet 
you have! What size shoe do you wear?" 
When she tells you, just add three and 
you have her stocking size. Now you 
know why you took arithmetic in gram- 

mar school. 

Gloves, particularly high colors such 
as red or green or the heavenly new blue, 
are brilliant ideas, but the only way to 
get the right size in this case is to steal 
a pair of her old ones, check for size and 
return as inconspicuously as possible. 

Jewelry, of course, is an item Emily- 
Posted as a proper gift only for an en- 
gaged girl from her ring-master. 

Kiss-Me-Quick, I'm-AU-Agog Gifts 

Under this heading belong such things 
as monogrammed handkerchiefs or sta- 

Any monogrammed item, in fact, gives 
that "This has been planned for you" 
touch to a gift. 

Laraine says that every girl she knows 
would adore a heroic-sized purse in some 
high color to brighten a wintry black suit 
or to dramatize a fur coat. 

Miss Day, speaking again, says sensibly, 
"Every girl, whether she is living at 
home or has an apartment, likes to have 
sets of really nice silver, china and 
glassware started for her. One crystal 
goblet, accompanied by a note to the 
effect that it is the initial member of a 
set to follow at holiday intervals, isn't 
any more expensive than some foolish 
gimcrack that will have been forgotten 
by February tenth. One good demi-tasse 
cup, or one piece of sterling flatware are 
forever-and-aye gifts and, comparatively, 
they aren't expensive." 

There's no doubt about it: Christmas 
is a great Day. And so, you'll agree after 
studying the Yuletide yummies above, is 

The End 

How Not to Trim Your Christmas Tree — Jeffrey Lynn 

(Continued from page 35) lanky fur. 

Don't, please, please don't give your 
giftee one of those matched toilet sets 
unless you are quite positive that you 
know his taste. 

Cigarette lighters, while an impressive 
gift to open, are soon foiled by human 
laziness, according to Jeffrey. He says 
that every time a man buys a pack of 
cigarettes he is handed a book of 
matches which are convenient and dis- 
posable. He may carry a lighter for a 
time, but the first time the flint wears 
out or the fluid is exhausted — clunk! 
the lighter is dropped into the top dresser 

Diffidently, Jeffrey broached one of the 
more delicate Yuletide subjects. There 
seems to be a tendency upon the part of 
the more photogenic sex to give itself 
in tinted miniature or white leather 
frame, to be set on the boy friend's desk 
or bureau. As time goes by, this year's 
camera cutie gives place to next — or 
worse, the new photograph is superim- 
posed over the old. So don't have a 
picture taken for a man unless you are 
engaged to him and the wedding date is 
set. Otherwise the day may come when 
some man's wife will be laughing at the 
way you looked in that hat. 

(SHOULD think I've spread enough 
gloom," opined Jeffrey, smiling. I 
don't believe in criticising a system un- 
less I can offer some constructive com- 
ment once the kicking is done. Now 
that I've growled out a lot of don'ts, how 
about my giving some do's?" 

See? That's what they mean in Holly- 
wood when they say Jeff is on the beam. 

To begin with the Small-Remembrance 
Department: If a man smokes, a carton 


of his favorite brand is always a slip- 
proof present. Books have to be carefully 
chosen, but they are appreciated. For 
instance, if you' - A.W. (amateur wolf) 
gives after-dinner speeches at school or 
in business, a collection of famous quo- 
tations will give him that Flattered Feel- 
ing. If he's a ham, find out what technical 
radio book he'd like to have. While we're 
on the subject of reading matter, there's 
no more lasting gift than a subscription 
to his pet magazine. 

"But the fastest way to a man's heart," 
explains Jeffrey, "is by way of his favo- 
rite sport." 

If he skates, check to find out whether 
he has a good pair of blade guards. If 
your present dares swoop over to the 
lavish side, how about one of those 
Swedish wind-resistant jackets that turn 
zero blasts to zephyrs. 

For the hunter there is no more Christ- 
masy — and precautionary — gift than a red 
shirt. Or a red shirt AND a red wool 
jacket AND a red knitted cap. 

When he isn't hunting in this garb, you 
can stand him in the window as a Yule- 
tide candle. 

A boy who has a nice racket — either 
tennis or badminton — will let you muscle 
in to the extent of providing a good 
press. If he already owns a press, how 
about a can of birdies, or a dozen tennis 

"Of course," Jeffrey forestalled an ex- 
pected complaint, "so many girls want to 
give something that can be kept forever. 
Unfortunately, most men aren't a third 
as sentimental as girls are. They don't 
care how long a present lasts if it is use- 
ful while it lasts. And at Christmas the 
prime idea is to please the receiver, not 
to satisfy one's own desire for perpetuity." 

If your heartbeat is a golf whiz, give 
him a set of golf mittens for his club. 
And the score on the sale slip will be 
way below par. 

For the fisherman, there's nothing quite 
like a tackle box. If your honey already 
has one, he'll develop a gleam in his eye 
when he unwraps an assortment of dry 

"What about a gift for a boy in camp'?" 
Mr. Lynn was asked. 

Jeffrey thought gifts for the military 
should be divided into three groups: those 
under ten dollars in price; those under 
twenty-five dollars; and sky's-the-limit. 

Under ten dollars, an order for a carton 
of cigarettes to be shipped once a month 
for six months is a bull's eye. So is a 
year's subscription to a weekly maga- 
zine. Monogrammed handkerchiefs and 
a small steel strong box with a stout lock 
for the preservation of personal gadgets 
would be welcome. Stationery (with 
envelopes unlined) falls into the gentle 
hint department. 

Under twenty-five dollars, you can 
get a compact portable radio — the smaller 
the better. You can order a box of fancy 
foodstuffs to be sent to him each month. 
How about an electric razor, or a good 
traveling bag if his is getting scuffed? 

If the sky really is the limit, don't be 
bashful. Write to him and ask him out- 
right what he wants for Christmas, bar- 
ring an honorable discharge. 

"And what do you, personally, want 
for Christmas, Mr. Lynn?" we asked. 

His answer proves that men, no matter 
how suave and intelligent, can still be 
present-problems. "Gosh," he said, 
rumpling his hair. "I don't know." 

Well. Merrv Christmas, anyhow. 
The End 

photoplay combined with movie mirror 




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Color of Hair 

Color of Eyes 

"Less nicotine in the smoke means a 
milder smoke — so Camels are 

my favorite cigarette 



\ T RIGHT, baroque evening 
gown from the I eslie Morris 
winter collection al Bergdorf 
Goodman. White slipper 
satin appliqtied with 
velvet scrolls . . . 
inspired by the ruby- w 

and-diamond shoulder clip. 

IETITE and charming. Leslie Morris 
(sealed, smoking a Camel) wears a soft 
suit of her own design... navy wool frosted 
with ermine lapels. Noted for her magnificent 
interpretation of the simple, she seasons a 
red wool sheath with a jacket embroidered 
in gold thread, banded in mink. "All the 
time I'm smoking a Camel," she says. '"I en- 
joy it thoroughly. So much milder — and full 
of marvelous flavor ! My guests prefer Camels, 
too. so 1 buy my Camels by the carton." 

AT LEFT, a distinctive Leslie 
Morris silhouette of flame-blue 
velvet. ..diaphanous star-studded 
veil. Prominent among designers 
who are making America the 
source of fashion, Leslie Morris 
says: "I find it's more fun 
to smoke Camels. 
They're grand- 
tasting— just 
couldn't be 

It .1 Reynolds Tobacco Company. Winston - Salem, N. C. 



than the average of the 4 other largest-selling 
brands tested— less than any of them— according to 
independent scientific tests of the smoke itself! 

BY BURNING 25% SLOWKK than the aver- 
age of the t other largest-selling brands tested 
— slower than an\ of them — Camels also him" 
>oii a smoking plus equal, on the average, to 



/%e ccaa^/^e c^C<7rt%&l /cwaazxt- 





Mary's lashes now ap- 
pear long, dark, and 
lovely— with a few simple 
brush-strokes of harm- 
MASCARA (solid or 
cream form - both are 
tear-proof and non- 

Mary's eyebrows now 
have expression and 
character, thanks to 
the smooth-marking 

For a subtle touch of 

de d charm, Mary 

blends a bit of creamy 

SHADOW on her lids— 
her eyes appear spark- 
ling and colorful! 



,, folded her EVERYWHERE she went. 

She was dainty and sweet. 

Her nose was ALWAYS carefully powdered 

a ■ *t the RIGHT shade of lipstick, 
\nd she used just the Kion 
But the KINDEST thing you could say 

About her EYES was that they were -well, 

Just a— MAYBELLINE advertisement, 

One day Mary read a MAY B^ 

Just as you are doing, and 
LOOK at Mary NOW! 

MORAL-. Many a girl has beaten her 
rival by an EYELASH! 


L A R G F S T - S E L L I N G 

F Y E 


$mtie,7Yam Girl, Smile... 

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Dest-liked, the most popular? 

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ous and gay. A smile that says, "Look, 
['m in love with life!" 

So wake up, plain girl— wake up and 
mile/ You can steal the show if your 
imile is right. You can be a star in your 

own small world— you can win compli- 
ments—you can win love and romance. 

But your smile must be right. It must 
flash freely and unafraid, lighting your 
face with beauty. And remember, for a 
smile to keep its sparkle, gums must re- 
tain their healthy firmness. 

So if you ever notice a tinge of "pink" 
on your tooth brush— see your dentist! 
He may tell you your gums are tender 
because soft foods have robbed them of 
exercise. And like thousands of dentists, 
he may suggest Ipana and massage. 

Take his advice! For Ipana Tooth 

Paste not only cleans and brightens your 
teeth but, with massage, it is designed to 
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For a Lovelier Smile — 
Ipana and Massage 

Massage a little extra Ipana onto your 
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That invigorating "tang" means circu- 
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helping gums to new firmness. 

Get a tube of Ipana Tooth Paste at 
your druggist's today. Let Ipana and mas- 
sage help keep your teeth brighter, your 
gums firmer, your smile more sparkling. 

Start today with 

RUARY, 1B42 



















Published in 
this space 

The greatest 
star of the 

Begins the nineteen hundred and forty- 
second Annum Domini and the third 
year of this column. 

• • • • 

May our foes wither like the chilled 
leaves. May Decency find, with re- 
newed vigor, the mislaid path plotted 
in the year one. 

* * • * 

So wisheth the philosopher Leo, Coeur 
de Lion. 

• * * • 

Each of us, in 
his own way, has 
his job to do. 
And ours is to 
entertain, to di- 
vert, to interest, 
to serve. 

We offer the best 
that the screen can provide. With each 
year t he movies come to fuller flower. In 
addition to technique they have mas- 
tered pace and the tempo of the times. 

• • • • 

When you see — and you will see — 
Spencer Tracy and Katharine Hepburn 
in "Woman of the Year", note this 
blending of action, merriment and 

• * * • 
It's the snap- 
piest yarn that 
has come to the 
studio editor in 
many moons. 

• • * * 
Spence plays a 
hail-fellow sports 

writer named Sam. Kate plays a high- 
brow political columnist named Tess. 

• • • • 

Tess gets pretty stuffy about sports and 
one day Sam takes her to the ball game 
where she asks some pretty cute ques- 
tions, to the disgust of the press box. 


VOL. 20, NO. 3 

It's either war or love twixt Sam and 
Tess. All's fair in both. 

• • • • 
But, baby, what comedy comes out of 
the mixing of the two worlds— the peo- 
ple and the tall brows. That party where 
those who came over in the Mayflower 
rub elbows with the boys who are more 
on the cauliflower side. 

* • • *o\/ 

"Woman of the. 
Year" is the Pic- 
ture of the Yi i! 

Advertisement fur Metro -(juldwyn -Mayer Picture* 


Executive Editor IOO EI 1 g< TT\ (3D TT^ Associate Editor 

This Is How It Really Happened James Reid 

For the first time the dramatic truth about Gene Tierney's marriage from Gene 

Hollywood — Beware in 1942! Matilda Trotter 

A reliable astrologer gives you the '42 futures of your favorite stars 

This Above All Fiction version by Norton Russell 

A man and a girls struggle against a love they both try to deny 

When G-Girls Get Together Jerry Asher 

Letting down the pompadour on the Ann Sothern-Hedy Lamarr situation 

Will You Ever Be Rich? Marian Rhea 

Exposing a few ingenious $ systems of bright young stars 

Portrait of a Shy Glamour Girl Joseph Henry Steele 

"Things you never knew before" department on Rita Hayworth 

The Editor Receives an Appeal 

A young California private takes over Photoplay-Movie Mirror 

It's Hollywood's Private Opinion Hedda Hopper 

Some question-mark rumors are smoked out by a dauntless columnist 

Bob Sterling — Next for Fame Helen Louise Walker 

Ida — the Mad Lupino Howard Sharpe 

Round-up of Pace Setters Sara Hamilton 

Five winners are chosen for special introduction to you 

Stop Crying! 

Instead try the Lucille Ball way to happiness 

The Truth about Stars' Charities 

Helen Gilmore 












Color Portraits of 

These Popular Stars: 

Nelson Eddy 35 

Hedy Lamarr 37 


Errol Flynn 42 


Robert Sterling 47 

Fred MacMurray 57 

Rita Hayworth 40 Cary Grant 66 

'Louisiana" Lovelies 

The best buy you've had in years — "Louisiana Purchase' 



Close Ups and Long Shots — Ruth 
Waterbury 4 

Inside Stuff— Cal York 6 

Speak for Yourself 16 

Brief Reviews 18 

So You Want to Be Pretty! 20 

The Shadow Stage 22 

Fashion Valentines for Judy 61 

Star Finds in the Stores 68 

Casts of Current Pictures 99 

COVER: Ann Sothern, Natural Color Photograph by Paul Hesse 

PHOTOPLAY combined with MOVIE MIRROR is published monthly by MACFADDEN PUBLICATIONS, .INC.. Wash 
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Member of Maefadden Women's Group 

Copyright. 19il, by Maefadden Publications. Inc. ■,„„■«,„ 

The contents ol this magazine may not be reprinted either wholly or In part without permission. Registro 

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photoplay combined with movie mirror 

A MERVYN LeROY Production with 



Screen Play by John Lee Mahin and James Edward Grant 


Produced by JOHN W. CONSIDINE, Jr. 

You're cruel, Johnnie. You're al- 
most 100% bad. But whatever 
you are, darling, you're my man.'' 


JUST as the democratic world itself 
is losing some of its fear and sees 
in the future the true hope of 
peace and victory. Hollywood is 
emerging from its small frights at the 
beginning of this year of 1942 . . . and 
looking forward to happier things . . . 
1941 has taught it much . . . the 
world's need for laughter, for one 
thing . . . the world's yearning for 
youth, for another. . . . 

The Bioff case is settled and done 
with, with Willie duly sentenced . . . 
anti-Nazi films are done with . . . not 
because Hollywood doesn't hate Hitler 
as violently as it always has . . . but 
because you and I have shown we 
have enough and to spare of war and 
hatred and fear from our radios and 
newspapers daily and that we do not 
care to go to the movies to get more 
of it . . . the musical comedies and 
the comedians, musical or otherwise, 
are coming in . . . and in its secret 
councils this January Hollywood now 
talks of several new personalities . . . 
and several that are not new but who 
are changing. . . . 

All the "safe money bets'' of Holly- 
wood are now being staked on the 
career of Alexis Smith, that stunning 
girl who appeared so briefly in "Dive 
Bomber" ... as much as Paramount 
believes in Veronica Lake and Metro 
believes in Pat Dane, Warners be- 
lieves — and doubled — in Alexis ... it 
isn't because Miss Smith is at once 
beautiful and "different" ... so many 
girls are "new and different" in 
Hollywood . . . every year in every 
studio six or eight girls who will fit 
that description are signed up and 
almost every year another six or eight 
girls who formerly could be so desig- 
nated are dropped . . . can you, for 
instance, tell me right off quick who 
is the "T.N.T." girl? There was one, 
signed and so entitled only last year 
by a certain studio. . . . 

So why does inner Hollywood think 
Alexis Smith will survive where the 
others failed . . . for this reason . . . 
Alexis is a worker . . . she is a worker 
in the way that Paulette Goddard is 
. . . and Rita Hayworth . . . and the 
way Joan Crawford was when she 
began . . . Alexis takes ballet . . . 
Alexis takes singing . . . Alexis takes 
diction lessons . . . she cooperates 
with the publicity department . . . 
with the wardrobe department . . . 
with the production department . . . 
she is in nobody's hair and in every- 
body's good graces at her studio . . . 
and she is in her earliest twenties 
and very, very beautiful . . . they say 
Alexis will be an important star 
within the next two years and they 
point to Rita Hayworth, the young, 

Hollywood's bad boy is John Carroll 
who sasses directors and clowns his 
way through things that are serious 


Hollywood's good girl is newcomer 
Alexis Smith who is in nobody's 
hair and everyone's good graces 


cooperative and beautiful, to prove 
that it can be done. . . . 

Hollywood talks anew about Ann 
Sheridan these evenings . . . Annie 
who never was very serious about her 
career until now . . . that is, unless 
she concealed her real feelings abso- 
lutely miraculously . . . the whole 
town knows, of course, about the 
pushing around Annie got at Para- 
mount and about the somewhat 
flukey accident by which Warners 
decided to make Ann their "oomph 
girl". . . . 

But now that the much-publicized 
Brent-Sheridan romance is cancelled, 
all the wise boys see a change in 
Annie . . . they even wonder if 
some of the Brent intellectualism, 
some of the Brent detachment and 
breadth of view may not have touched 
Ann. . . . 

At any rate, whatever it is, it has 
made her a different actress in "Kings 
Row" than she has ever been before 
. . . she is so good, in fact, that now. 
long before the film is released and 
long before her option was due to 
come up, Warners have signed her 
for an additional five years . . . mak- 
ing it nine in all that they expect to 
have her on their lot . . . and as for 
Ann herself she is studying charac- 
ter make-ups as never before, going 
in for costume stills, fittings, hair-dos 
and all the things that hitherto, 
around Warners, have been the ex- 
clusive activities of the Misses Davis 
and Lupino, who do not regard ca- 
reers lightly. . . . 

AMBITION, energy, self-denial, 
study . . . those are the winning 
qualities that turn unknowns into 
celebrities in Podunk . . . remember 
the case of Wallis Warfield, that un- 
known little girl of Baltimore who 
was to upset the throne of England 
. . . and these qualities are even more 
winning in Hollywood . . . but it is 
hard, indeed, for some personalities 
to submit themselves to these de- 
mands ... as Lana Turner is learning 
... as John Carroll hasn't yet learned 
and perhaps never will. . . . 

In the inner councils of M-G-M 
they never expected Lana Turner to 
become their most important young 
woman star . . . that spot they had 
reserved for Judy Garland and after 
her Hedy Lamarr and after her pos- 
sibly Ann Rutherford . . . they didn't 
bet on Lana because of her unpre- 
dictable character . . . her moodiness 
. . . and Lana wasn't prepared to bet 
much on herself, either, as she proved 
when she very nearly and very gen- 
uinely i wavered on the brink of 
giving up her (Co7iti?iued on page 83) 

photoplay combined tvith movie mirror 


a** 1 * 1 



/y recHNtcoLox 



Produced and Directed by EDWARD H. GRIFFITH 

Screen Ploy by Virginia Van Upp Based on a story by Nelson Hayes A Paramount Picture 


BRUARY. 1942 

Mickey the Rooney makes up to pep 
up Virginia Hill's party at the Coun- 
tess Sonia Cafe. If you want to see 
the lovely he brought, look on p. 45 

Big night for romantic twosome was the opening 
of the new Trouville Club. Bob Stack and Elyse 
Knox got handclaps as the most attractive couple 



Some of this Hollywood news will leave you surprised; some will have you very much 
concerned for your favorites; most of it will have you chuckling right out loud 

opening of the new Trouville 
Club brought out the young peo- 
ple in romantic droves. Happy, as 
always, were Martha O'Driscoll and 
her steady beau Richard Denning. 
Ann Rutherford and her "platonic 
friendship" beau, Rand Brooks, danced 
every dance. Bob Stack and Elyse 
Knox, a lovely, attracted the most 
attention. What a handsome pair! 
The fabulous Virginia Hill, the gal 


who arrived in Hollywood unknown 
and has captured the fancy of the 
whole town with her lavish spending 
(Virginia says it's alimony) gave an- 
other of her "come one, come all" 
jamborees and younger Hollywood 
showed up in costumes that rioted 
the guests. Mickey Rooney, in wig 
and blacked-out teeth, won the home- 
baked bobsled, hands down. Frances 
Neal and Ava Gardner thought 
Mickev too clever. That Mickey sure- 

ly knows how to pick 'em, all right. 
Mr. and Mrs. Tom May. parents of 
Ann Rutherford's best beau. David May. 
provided a swellelegant birthday party 
for Ann with all the younger set gath- 
ered round to blow horns, wear paper 
caps and blow old-fashioned soap bub- 
bles. The happily married young 
couples, Judy Garland and Dave Rose, 
Anne Shirley and John Payne, Deanna 
and Vaughn Paul, had more fun than 
a barrel of (Continued on page 8) 

photoplay combined with movie mirrob 






v i 


There never was a better rea- 
son for "going to the movies" 
. . . 'cause there never was a 
better movie to go to! 

The most laughed-at play of 
our day — with this wonderful 
Warner Bros, cast (including the 
play's celebrated star) to make 
it even greater as a picture! 


A WARNER BROS. PICTURE from the play by famous GEO. S. KAUFMAN and MOSS HART • Produced by Sam H. Harris 
with RICHARD TRAVIS • BILLIE BURKE • REGINALD GARDINER • Directed by WILLIAM KEIGHLEY • Screen Ploy by Julius J. and Philip G. Eostem 


Soap-bubble bri- 
gade that cele- 
brated Ann's birth- 
day was led by 
John Payne with 
h i s wife Anne 
Shirley acting 
as cheerleader 

Lew Ayres and Hedy 
Lamarr get together for 
charity, meet at the 
Assistance League to 
formulate a set of 
"do unto others" rules 

Above: The younger 
set dons orchids and 
comes to the Ciro's 
party given for Ann 
Rutherford by the 
Tom May , parents of 
her best beau, David 
May, an incident that 
made Hollywood 
start talking about a 
Rutherford - May 
Yuma elopement 

(Continued from page 6) monkeys 
and, as usual Mickey, the Rooney, 
was all over the place. That happy, 
happy twosome, Jackie Cooper and 
Bonita Granville, had to leave early 
because of an early call to the set. 

The younger set is writing a new 
song these days. It's a blues tune 
called "When It's Early Shooting 
Time In Hollywood." 

Over at the famous Assistance 
League for luncheon, Cal was amazed 


to discover Lew Ayres, Hedy Lamarr, 
Linda Darnell, Irene Dunne, Jane 
Wyman and others all gathered about 
one table. They explained they were 
the committee to visit the different 
organizations that receive help from 
the Community Chest and invited old 
Cal to join the trek. We missed noth- 
ing — the children's hospitals, nursing 
homes, free clinics and all. If you 
think Hollywood hasn't a charitable 
heart, you should have seen us at the 

end of that tour, our hearts too full 
for words. And maybe those stars 
didn't go forth with their messages of 
"do unto others" throughout the 
homes of friends and stars. 

At Ciro's the community gathered 
in the cause of another charitable 
mission — to bring refugee artists, 
scientists and scholars to this country, 
that their cultural achievements may 
be a blessing to us and the world. 

Orson (Contiiiued on page 10) 

photoplay combined with movie mirror 

/ rtever nea/ecTmy c/a/'/y 


f "Here's all you do to take a Lux Soap 
*- facial," says this famous screen star. "First 
pat Lux Soap's lather lightly in." 

"Then rinse with warm water 
follow with a dash of cool 
— and pat your face gently with a 
soft towel to dry." 

how softly smooth it feels — 
how fresh it looks! This facial's 
a wonderful beauty care. Try it!" 

9 out of IO Screen Stars use Lux Toilet Soap- /fepc/A£/ &6as/icr/t& /*/&&■/ /te*f /a?/ 


Have you ever used 


Tampons are no mystery these 
days. Every month more and 
more women discover the won- 
derful freedom of internal san- 
itary protection. But in choos- 
ing a tampon, make sure it's 
truly modern, scientifically cor- 
rect. OnlyMeds — the new and 
.improved Modess tampons — 
have the "safety center." 

Safety Center F 
What's that ? 

The "safety center" is an exclusive 
Meds' feature that nearly doubles the 
area of absorption. This means Meds 
absorb faster — and so surely — you can 
forget needless fears. Meds are made of 
the finest, pure cotton — they hold more 
than 300% of their weight in moisture. 

tA woman's doctor did it? 

Yes, a leading gynecologist — 
a woman's doctor — designed 
Meds. They are scientifically 
shaped to fit. As for comfort, 
you feel as free as any other 
day! Nothing to pin! Nothing 
to bulge or show! No odor 
worries! Easier to use, too — 
each Meds comes in a one- 
time-use applicator that ends 
old difficulties. 

*Sut don't these special 
features make Meds 
cost more ? 

Not at all! Meds cost less than any other 
tampons in individual applicators. No 
more than leading napkins. Try Meds 
and compare! You'll be glad you did. 

BOX OF 10-25^ • BOX OF 50-98^ 


The JHodess Tampons 

(Continued from page 8) Welles and 
Ida Lupino presided and never has 
Cal heard more stirring speeches than 
the ones delivered by these two. We 
motioned to Hymie to catch with his 
camera the little byplay as Orson 
passed Dolores Del Rio, to face his 
audience. Reaching down he ten- 
derly kissed her hand. What a gallant 
gentleman that Welles genius! 

Hedy Lamarr with Tim Durant was 
the center of all eyes. John Carradine 
with his droopy face foliage drew a lot 
of giggles; Rudy Vallee created a stir 
by escorting a blonde for a change; 
Mickey, the old Romeo, brought those 
two lovelies, Ava Gardner and Anne 
Harris; Eddie Lowe and Lady Fur- 
ness accompanied funny man Frank 
Morgan and his wife. When Holly- 
wood puts its mind and heart into a 
thing, you can be sure it carries 
through to a successful finish. 

Cal Calls on Alice: The minute we 
heard her voice on the phone we 
knew it was Alice Faye. "If you're 
not tied up this afternoon come on 
out," she urged. "Haven't seen you 
in ages." 

We needed no more invitation than 
that, for Alice Faye Harris is one of 
our favorite people and kindest 
friends. And besides, we confess, we 
were curious to see how Alice, who 
knew only the bright lights since she 
began with Rudy Vallee's band at fif- 
teen, was taking her self-imposed year 
of exile. 

Out Ventura Boulevard to the scat- 
tered little community of Encino we 
jogged along, thinking of Alice and 
her past unhappiness. 

A left turn brought us into a coun- 
try lane and at its end, nestled against 
a hill, was Phil Harris's house, the one 
Alice had moved into after her mar- 

nAide Stuff 

Seeing stars on Santa Claus 
Lane: Irene Rich is Grand 
Marshal of Hollywood's big 
annual Christmas parade 

Santa Claus lost the lime- 
light when Rochester, in 
boss Benny's car, whizzed 
by. Back-seat driver is 
the imposing Carmichael 


riage to the band leader. 

We could hardly believe our eyes. 
The quiet, calm self-confidence of 
Alice, the beauty and taste of the 
home, redone by Alice, rose like a 
misty dream between this new mature 
Alice and the one we'd known years 

She spoke of her year out for moth- 
erhood. "I think I've earned it, don't 
you?" she asked anxiously. If Alice 
hasn't, no one has. But time out for 
motherhood isn't the "thing" in 
Hollywood, with stars working within 
a few weeks before the baby's arrival. 
The loss of salary, the fierce competi- 
tion among stars plus the chance of 
being forgotten by the fans keep them 
going — sometimes beyond their 

All these have been put behind by 
Alice. Having a baby is to her the 
greatest blessing in the world and 
Alice is willing to take any chance for 
its sake. 

Phil came in while we were there 
and let old Cal tell you this: We drove 
back down over Laurel Canyon in the 
purple glow that passes for twilight 
out here with the assurance that we'd 
seen that rarest of rarities in Holly- 
wood — a couple with complete content 
and happiness in each other. 

But how many stars in Hollywood 
ever achieve that? 

photoplay combined with movie mirror 

Grinning Hope greets his grinning 
public on Santa Claus Lane clad 
in satin, riding a swayback horse. 
Other star paraders included Burns 
and Allen, Edgar Bergen and C. 
McCarthy, Baby Snooks and Daddy 

Guess What? Barbara Hutton gave 
!ary Grant a complete new dining 
aom, done by a famous decorator, as 
n "appreciation" gift. Guess Bar- 
ara appreciated Cary's gesture in 
Arsenic And Old Lace." Cary gave 
is entire salary for this role to 
harities (see page 67). 

Incidentally, Barbara is growing too 
iin these days for even fair looks, 
[er Hollywood friends are concerned 
ver her frailty. 

Lt. Fairbanks is Seasick But a Sue- 
ess in the Navy: "The Corsican 
brothers," Douglas Fairbanks Junior's 
ext film will show that energetic son 
I an athletic father bounding about 
le decks of a rollicking pirate ship 
dth gusto. The vessel rolls and 
Lunges like a runaway whale in the 
eavy seas of the story. And young 
•oug is as serene as a Bishop at a 
;a party. 

Not so undisturbed by the wild 
r aves is Lieutenant (junior grade) 
•ouglas Fairbanks, Jr., United States 
[aval Reserve, according to word re- 
sived from Iceland, where Doug 
ame ashore recently after his first 
ruise on one of our battlewagons 
atrolling the North Atlantic. 

"I was seasick several times," glum- 
r admitted Doug to reporters at 
Reykjavik, U. S. base in Iceland. "And 

was pretty scared a couple of times 
rhen our rolling destroyer was hunt- 
lg U-boats," Junior was frank 
nough to confess. "But," he added, 
the Captain told me that everyone 
ras scared the first time." 

Whether or not Lt. Fairbanks is a 

Even at winter parties- 
it's August under your arms! 

Guard popularity, prevent underarm odor with Mum! 

WINTER is a season of wonderful 
parties and wonderful times, if a 
girl is popular! So don't let underarm 
odor come between you and social suc- 
cess. In winter, as in summer, guard dain- 
tiness with sure, dependable Mum! 

Even though you see no warning trace 
of moisture, underarms always perspire. 
Heavier clothing and heated rooms en- 
courage danger for the girl who foolishly 
thinks that, in winter, she doesn't perspire! 

Everyone does! That's why it's so fool- 
ish to trust just a bath to keep you sweet. 
A bath only removes past perspiration, 

but Mum prevents risk of future under- 
arm odor. Use Mum for: 

SPEEDI 30 seconds to use . . . protects for 
a whole day or a whole evening. 

SAFETY! Mum has won the Seal of the 
American Institute of Laundering as be- 
ing harmless to fabrics. And Mum won't 
irritate skin, even after shaving. 

DEPENDABLE! Mum guards charm, not by 
stopping perspiration, but by preventing 
odor all day or all evening. Mum is pleas- 
ant, creamy, fragrant— you'll like it! Get 
Mum from your druggist today: 









For Sanitary Napkins 

More women prefer Mum for 
this me, too, because it's gentle, 
safe . . . guards charm. Avoid 
offending— always use Mum. 


■"Has to xt*"* 

Product of Bristol-Myen 



BBRUARY, 1942 


nAide Stuff 

Two stirring speech- 
makers for refugee 
charity: Ida Lupino 
and Orson Welles 

JEAN PARKER — appearing in 
Paramount's "No Hands on the 
Clock" — uses GLOVER'S once a 
week — leaves it on hair over- 
night — shampoos next morning. 

Use GLOVERS Medicinal 

Treatment, with Massage, for Loose 

Dandruff, Itchy Scalp and 

Excessive Falling Hair! 

Movie stars know the importance of using 
the right treatment! If you've tried scented 
hair preparations without results, switch 
now to this famous MEDICINAL Treat- 
ment, used by millions. Try GLOVER'S, 
with massage, for Dandruff, Itchy Scalp and 
excessive Falling Hair. You'll actually feel 
the exhilarating effect, instantly! Ask for 
GLOVER'S at any Drug Store. 


Here's a convenient way to convince yourself! Send 
loday for a generous complete FREE application of 
Glover's Mange Medicine— also the New GLO-VER 
Beauty Soap SHAMPOO — in hermetically sealed 
bottles. This gift is distributed by coupon only. 
Complete instructions and booklet. The Scientific 
Care of Scalp and Hair, included FREE! 

Two Bottles, FREE! Glover's 
Mange Medicineand the New GLO- 
VER Beauty Soap Shampoo, as 


Glover's. <ffiO Fourth Ave., Dept. SS2, New York 
Send I R I I samples. Glover's Mange Medicine 
and new GLO-VER SHAMPOO in hermetically 
scaled bottles. I enclose 3<* to cover postage. 



good sailor, he certainly is a success 
as press and public relations officer 
aboard the destroyer, a duty to which 
he has been assigned for three months. 
At Reykjavik, where the Icelanders 
have been grumbling over alleged lack 
of consideration and courtesy by 
American troops stationed there, Fair- 
banks was a one man good-will mis- 
sion. Hundreds of Icelandic girls lined 
up in front of his hotel, seeking auto- 
graphs as avidly as the Broadway 
brigade of fans who congregate on the 
pavement outside New York's "21." 
Admirals, resplendent in gold braid, 
won no second glance from the Ice- 
landers. But a Hollywood star in a 
Navy uniform was enough to start a 
near riot in Reykjavik. 

Fireman, Spare My Patience: The 
funniest story of the month was told 
Cal by our friend, Bill Powell, who 
had just returned from Del Monte. 

Bill and his wife had gone for a 
walk and upon returning to their hotel 
bungalow discovered the living room 
ablaze. Bill leaped into action doing 
his bit to extinguish the fire. Other 
hotel guests set to work aiding fire- 
man Bill, each assuming the other had 
notified the fire department. 

Finally, Bill rushed to the phone 
and rang the hotel office. "Isn't some- 
body going to do something about this 
fire?" he demanded. 

The management, not catching on 
that Bill's bungalow was about to 
burn down, apologized for the "de- 


lay" and promised to right matters at 
once. They did, too, providing a 
climax that movie comedies would 
envy. They immediately sent a boy 
over with an armload of wood and 
kindling for Bill's fireplace! 

Cal's News Items of the Month: 
While Gene Autry was in the East, 
his beautiful $250,000 mansion in 
North Hollywood burned to the 
ground. Fortunately, Gene had trans- 
ferred most of his priceless trophies 
to his beautiful Valley ranch. 

A sign over the Twentieth Century- 
Fox door of Count Oleg Cassini, who 
is designing clothes for "Tales Of 
Manhattan," reads "Miss Gene Tier- 
ney not allowed in this office during 
working hours." 

Miss Tierney's the Count's wife. If 
you want particulars on the Tierney — 
Cassini setup, see page 28. 

Mischa Auer, Russian comic, and 
Joyce Hunter will honeymoon on a 
personal-appearance tour. 

When Ruby Keeler, divorced spouse 
of Al Jolson, married John Lowe. 
Pasadena socialite, it became, as usual, 
a family affair, with Ruby's brother 
Bill acting as best man, her sister 
Gertrude, matron of honor, her sister 
Helen, chief spokesman to the press, 
and her mother in the front seat nod- 
ding her approval. 'Tis said Ruby re- 
linquished heavy alimony from Mr. 
Jolson to wed Mr. Lowe. 

Hollywood chuckled over the fact 
levelheaded Roz Russell refused to 

photoplay combined with movie mirror 

allow her honeymoon to interfere with 
business. Three days after she'd ar- 
rived in Miami with bridegroom Fred- 
die Brisson, Roz wired Hollywood 
about an available part in the "Tales 
of Manhattan" series, the seven-part 
episode of a dress suit. These Holly- 
wood gals just can't keep their minds 
off business — honeymoon or no honey- 

Reginald Gardiner, who is attempt- 
ing to rekindle the spark with Hedy 
Lamarr, called on Hedy one evening 
and discovered her girl friend Ann 
Sothern was to be on hand for the 
evening. For three hours Reggie en- 
tertained the ladies with his imitations. 
As he rose to leave he said, "Next 
time I'll bring along a boy friend for 
your girl friend." 

See, fellows, it even happens in 

Cal hears Annie Sheridan is seeing 
less and less of George Brent. After 
all, a gal can't give the best years of 
her life to a confirmed non-marriage 
addict with all the Army, Navy, Air 
Corps and Marines ready and waiting. 

Lili Damita has filed those divorce 
papers against husband Errol Flynn, 
alleging great mental and physical 
anguish, plus suffering and extreme 
cruelty at the hands of Mr. Flynn, 
who plays only dashing gallant heroes 
on the screen. 

If this ain't a woild! 

The cynical Mr. Sanders, who dotes 
on anecdotes relating to his extreme 
sinfulness in life, turns out to be a 
normally happy man, according to 
latest reports. The bride is said to be 
Elsie Larson. 

Boasting, Georgie, or just wishful 

Ted North and Mary Beth Hughes 
are the newest romantic pair with that 
wedding-ring ceremony on their 

Wendy Barrie is sporting topaz 

Beauty plus talent equals a good 
pose at a Ciro's party: Edgar Ber- 
gen, Fay McKenzie, Billy Gilbert 

New Loveliness Awaits You! 
Go on the 


This lovely bride is Mrs. E. C. Thuston, Jr., of Birmingham, Ala. who says: "I'm 
so proud of my complexion since 1 changed to the Camay 'Mild-Soap' Diet!" 

This exciting idea is based on the 
advice of skin specialists — it has 
helped thousands of lovely brides! 

NEW LOVELINESS may await you in the 
Camay "Mild-Soap" Diet. For you 
may be blissfully unaware that you are 
cleansing your skin improperly. Or that 
you are using a beauty soap 
that isn't mild enough. 

Everywhere you'll find 
charming brides like Mrs. 
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Testing ^' 1941 .1 
December 6. 

Right: Ciro's sits up and 
stares at Marlene Dietrich 
in a shou Ider less dress 
having dinner with French 
star of the moment Gabin 

Organdy Curtains 
Like New After 
18 Launderings 

Comparative Starch Tests Prove 
Linit-Starched Fabrics Last Longer 

Do your curtains have the crisp, 
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curtains after 1 8 washings ? . . . Better 
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starched with Linit not only look 
beautiful, they stay clean-looking 
longer; iron easier, too. 





The Mocambo gets a shock when 
it gets a look at a new Lupe 
Velez, dignified and blonde, 
with writer Erich Remarque 

hair, of all things, which reminds us 
that Hollywood beauties are running 
every which way these days, trying to 
decide on a permanent hair color. Rea- 
son? Hair dye is growing scarcer due 
to defense needs for chemicals. 

Joyce Matthews up and got mar- 
ried to funny man Milton Berle. 
Counting ever-present Mama, it looks 
like a permanent threesome. 

Buy Wifee a Lollypop, Boys: The 
eyebrow-raising tendency among 
eligible Hollywood males to take child 
brides is spreading in all directions at 
once, leaving the young ladies in their 
twenties with something to think 

It was the thing, in Grandma's day. 
for a girl to marry early and settle 
down. A young woman of twenty- 
three or twenty-four was well on her 
way to a stolid old-maid-hood. Then 
ideas changed and sweet sixteen went 
back to her basketball playing. 

But look at Hollywood today. Bill 
Powell in his late forties marries 
Diana Lewis, scarcely twenty, and 
proves youth and middle age can live 

happily together. A writer who was 
interviewing Bill one day heard a 
commotion out in the hall. 

"It's probably Mrs. Powell sliding 
down the bannisters," Bill explained 
philosophically to the visitor. 

"Back to school for three weeks 
more," was the Board of Education's 
verdict for Jean Wallace after her 
elopement with Franchot Tone. Jean, 
who wasn't quite eighteen at the time, 
was compelled under the California 
law to finish her school course under 
a tutor. And Franchot himself is a 
lad in his late thirties. 

Ken Murray, fortyish and funny, 
and his eighteen-year-old bride Clea- 
tus Caldwell are very happy. "She 
offers no objection to my pipe smok- 
ing," Ken told us, "and I'm careful not 
to knock over her blocks." 

Nineteen-year-old Judy Garland 
became the bride of thirty-some- 
old Dave Rose, and sixteen-year-old 
Lois Andrews not only married 
Georgie Jessel, who is comfortably 
ensconced in his middle years, but 
has now become the mother of his 

If this keeps up, there's no telling 
where it will end, perhaps with the 
Meglin Kiddies becoming the idol of 
the Hollywood stag row. It's tough 
on the gals past their teens, but maybe 
there's logic in the idea of catching 
gals young enough to train 'em in a 
man's way of life. 

Well, well, toodle-oo, old Cal has a 
date with Baby Sandy. See you later. 

Night-Club Flashes: Ann Sheridan 
was voted the glamour beauty of the 
month when she appeared at Ciro's 
with Cesar Romero. Never has Ann 
looked so radiantly lovely. Even the 
stars present stopped to gape. Inci- 
dentally, a near-riot was started when 
a fan, pressing near Annie for an auto- 
graph, attempted to unclasp the fas- 
tening to her beautiful necklace. The 
police yanked the too-ambitious fan 
away and Ann in triumph marched in 
to the chorus of "ohs" and "ahs." 

Lupe Velez, on the other hand, went 
photoplay combined with movie mirror 

.? ^K^J^^Hfl 


~1l « 



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™^_ >' . ^ 


l>. £T*Kv 

^ , 

A "listen, my son, and you shall hear" 
pose of veteran Basil Rathbone giving 
newcomer Glenn Ford a business earful 
during luncheon at the Brown Derby 

almost unrecognized with her blonde 
hair, of all things. The dignity of 
Lupe since she has fallen in love with 
Author Erich Remarque is almost as 
startling as her former outbursts. Folk 
out here just can't believe it's Lupe. 

Marlene Dietrich, who was former- 
ly the girl friend of Erich, is still 
limping slightly from her accident. 
Her limping partner is still French 
Jean Gabin who, for all his savoir- 
faire, seemed slightly uncomfortable 
at Marlene's extreme decollete! 

Mr. and Mrs. John Wayne, seldom 
seen away from home, made a rare 
appearance at the Mocambo. 

Cary Grant Talks To You: We 
roamed out on Warners' "Arsenic 
And Old Lace" set and chanced upon 
Cary Grant. The talk fell to vacations 
and then to New York. Cal asked 
Cary if he really had fun when he 
went to New York. He threw up his 
hands in horror at some of the mem- 
ories, especially at his experiences at 
the hands of those rude fans who are 
the abomination of the true and loyal 
fans whom stars love. 

"It's our big cities that are bad," he 
said. "And if they're tough on a guy 
like me, what must they do to some- 
one like Gable?" 

Maybe if all you real and genuine 
fans could pass along a rebuke to the 
rude ones, it might help the situation. 

As We Go To Press: Fans and 
friends of Jackie Cooper were dis- 
tressed at the news of his mother's 
death. Mrs. Bigelow, only thirty-six, 
had guided her son's career through 
his "Our Gang" days, his success in 
"Skippy" and "The Champ," to his 
present popularity. For many months 
Jackie has known that he and "Mom" 
were fighting a losing battle, though 
he never told her. Nevertheless, no 
amount of preparedness in facing 
death makes the blow any less crush- 
ing when it falls. This will be a lonely 
Christmas for Jackie. 




One sure "Yes!" to a reader's 
suggestion for Richard Carlson 
would come from his wife Mona 

$10.00 PRIZE 
Try It Sometime! 

I'M starting a one-woman campaign 
for M.S.M.F. in America. M.S.M.F. 
stands for More Sincere Movie 
Fans. This hysteria at the sight of a 
famous profile is deadly to a sincere 
fan and my town needs educating 

To begin my campaign, I've started 
writing sincere letters, after each 
movie I see, either complimenting or 
criticizing as honestly as I know how 
the performance of the two star 
players. To my surprise I've found that 
a star appreciates sensible letters and 
the one star who answers by return 
mail, with a personal letter, is the 
much-abused Robert Taylor. The let- 
ters aren't mimeographed either; 
they refer to my letter in detail, show- 
ing that my sincere words were read 
and appreciated. Try it sometime 
. . . instead of asking for a lock of 
hair, a fifty-dollar loan or the ring 
he wore on his little finger in the last 
picture, give him your opinion, hon- 
estly, and you'll be repaid by a sin- 
cere, friendly and appreciative letter. 

Who wants to join me? 

Oleta Aubrey, 
Oklahoma City, Okla. 

$5.00 PRIZE 
Three Cheers for American Pix 

THREE cheers for motion pictures! 
They have thrilled me to the core 
With epics like "The Big Parade" 
And a hundred thousand more! 
I recall "The Covered Wagon" 
Of those golden silent days 
When the "Birth Of A Nation" thrilled 

In a hundred different ways. 
I have watched our nation's struggle 
In its fight to make men free. 
I know the blood that freely flowed; 


It flowed for you and me. 
I landed with the Pilgrims, 
I fought at Bunker Hill, 
I heard a speech at Gettysburg 
That's ringing through me still! 
In days of dark depression 
When we all felt pretty glum, 
The movies picked our spirits up, 
And made our heartstrings hum. 
So, in a tragic world today 
Our movies represent 
The American Way in the U.S.A. 
And its spirit one hundred percent. 
Clare Neuser, 
Scranton, Penna. 

$1.00 PRIZE 
Dear i Hollywood — 

WHY not give George Mont- 
gomery a real break? I think 
that he is just about the best thing 

following prizes each month for the best 
letters submitted for publication: $10 first 
prize; $5 second prize; $1 each for every 
other letter published in full. Just write in 
what you think about stars or movies, in 
less than 200 words. Letters are judged 
on the basis of clarity and originality, and 
contributors are warned that plagiarism 
from previously published material will be 
prosecuted to the full extent of the law. 
Please do not submit letters of which 
copies have been made to send to other 
publications; this is poor sportsmanship 
and has resulted, in the past, in embar- 
rassing situations for all concerned, as 
each letter is published in this department 
in good faith. Owing to the great volume 
of contributions received by this depart- 
ment, we regret that it is impossible for 
us to return unaccepted material. Accord- 
ingly we strongly recommend that all con- 
tributors retain a copy of any manuscript 
submitted to us. Address your letter to 
"Speak for Yourself," PHOTOPLAY-MOVIE 
MIRROR, 122 East 42nd St., New York 
City, N. Y. 

that has happened to Hollywood in a 
long time. Besides roles in a few B 
pictures and gadding about with debs 
and glamour girls, George hasn't been 
doing right by the public. 

For gosh sakes don't stick him in 
a cowboy outfit! I can stand Gary 
Cooper and a few of his type in a 
ranch role, but not that heart-break- 
ing Montgomery man. 

Ohhh! to be able to see him in a 
real Charles Boyer type picture. Of 
course, I wouldn't want George to 
set the world on fire, but he does de- 
serve a much better break and I'm 
willing to bet that he could set more 
than one feminine heart aflame. 

The men have luscious Lana Turner, 
so c'mon, share and share alike, give 
us dames a terrific Montgomery 

D. L. Wetzel, 
Browning, Mont. 

$1.00 PRIZE 
Upsetting Pedestals 

AFTER seeing the great Spencer 
Tracy in "Dr. Jekyll And Mr. 
Hyde" I feel that if ever I read again 
that he is the best actor on the screen 
I shall promptly burn the magazine or 
paper that says so. The entire audi- 
ence, when I saw this film, roared with 
laughter at the man's grimaces and 
his ridiculous would-be faunlike leaps 
over railings and chairs, a la the young 
Douglas Fairbanks the First. Only 
that gay gentleman did such things 
in comedies and Tracy meant his ac- 
tions to be taken seriously! 

The film was a poor mixture 
of pseudo-Freudian psychology, of 
course, and that gave the poor actor 
a bad handicap to start with, but even 
that big a handicap couldn't excuse 
his downright ham acting. He was 
simply out of his depth in the Steven- 
son story, although there are some 

photoplay combined with movie mirror 

actors in Hollywood who wouldn't 
have been. Robert Montgomery 
could have played it — he has enough 
sophistication to do it well. 

I think Louis Hayward could 
have played it well; I wish the film- 
makers would realize the sterling 
values of this young actor and give 
him parts worthy of his ability. Wil- 
liam Powell could have done it — yes, 
the comic Mr. Powell. He once did 
serious plays on the stage and did 
them well. He has suavity and under- 
standing and he wouldn't have been, 
like Tracy, lumbering and crude. Nor 
would he have been funny. 

Wallace Kirk, 
Oxford, O. 

$1.00 PRIZE 
Love Interest 

LET'S not have any more of Ruth 
Hussey and Melvyn Douglas as 
romantic leads. "'Our Wife" should 
convince the producers that while 
both are excellent comedians they 
definitely do not win the audience's 
interest in love scenes. Miss Hussey 
is beautiful, but her manner is far too 
brittle to make her acceptable as a 
romantic heroine. And Melvyn Doug- 
las — despite the fact that he has been 
cast as the loving male in scores of 
films — is definitely not the actor for 
such parts. 

In this respect, there is an interest- 
ing comparison involving another cur- 
rent film, "Unfinished Business." Both 
films have very thin plots and very 
ordinary ones. Yet "Unfinished Busi- 
ness" is lifted to the place of a great 
picture because of the personalities of 
Irene Dunne and Robert Montgomery. 
Love scenes between them are superb. 

So please, Hollywood, take a hint 
from the many people who feel the 
same as I and keep Miss Hussey and 
Mr. Douglas in the comedy -characters 
which they do so well. 

M. Simms, 
New York City. 

$1.00 PRIZE 
How About It? 

RICHARD CARLSON definitely has 
earned more recognition from 
Hollywood than he has thus far re- 
ceived. How he could use a good 
meaty role like, for instance, that of 
Kenneth Roberts' new hero, Oliver 

Hollywood must have considered 
making a picture from this grand 
novel, but if the picture is made, 
probably some established star will 
be given the top spot. It seems pro- 
ducers should know by this time that 
the quickest way to make a new star 
is to put a comparatively unknown 
but talented person in the leading 
role of a big picture, particularly one 
made from a (Continued on page 98) 

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FEBRUARY. 194'' 





THERE are Western stars and 

WESTERN stars but there is only 


IS back on the screen with his 

MOST exciting and entertaining 


MEXICO WAY" is the 

TITLE of this newest 


GENE'S great 


CAST includes 




HUBER for 

LAUGHS — and 

FOR romance, 

THERE'S that 


NEW discovery, 


WHO was a 


ON the stage 

IN "Meet the 

PEOPLE and will be even more 

SO when GENE starts serenading 

HER with hit songs such as "Maria 

ELENA" and "Down Mexico Way" 

AND lots more — all of which goes 

TO make this one absolutely the 


FINEST of all 

THE many hits 

IN which GENE 

HAS appeared. 

IF you don't see this picture and 

HEAR these songs, you will be 

MISSING a real movie treat. Like 

ALL of GENE AUTRY'S hits, 

THIS one is 




No dialogue necessary: Lana Turner and Robert Taylor don't 
talk, just act in a scene from M-G-M's "Johnny Eager" 

Johnny Downs dons women's clothes and enrolls at 
a strict girls' school in order to get even with the 
school for having cast aspersions on a near-by male 
student body. Frances Langford sings, which is 
easy to take, but it's a non-entertaining little 
musical. (Jan.) 

mount: Dorothy Lamour is back again in Techni- 
color and her sarong. Jon Hall is the native who 
returns from the states with his new education to 
take over his post as ruler and marry his betrothed, 
Miss Lamour. But jealous Philip Reed has other 
ideas. (Nov.) 

Charles Boyer is at his smoothest in this gay movie 
as the playwright who marries a successful doctor, 
Margaret Sullavan, who puts into practice all her 
scientific theories about marriage and takes her 
own apartment. Both Reginald Denny as the 
"other man" and Rita Johnson as the "other wo- 
man" are splendid. It's sparkling as your Christ- 
mas tree. (Jan.) 

\/ BADLANDS OF DAKOTA — Universal: 

Straight-shooting Western, with Robert Stack as 
the Easterner who marries his brother's (Broderick 
Crawford) fiancee, Ann Rutherford, which starts 
all the rumpus. Richard Dix is Wild Bill Hickok, 
Frances Farmer is Calamity Jane, and Addison 
Richards is Custer. (Nov.) 

y BELLE STARR— 20th Century-Fox: The no- 
torious woman bandit of the 1860's has been so 
whitewashed that much of the punch of the picture 
is lost. Gene Tierney plays Belle, who turns out to 
be a gently bred Southern girl who attempts to re- 
fight the Civil War. She marries Southern rebel 
Randy Scott and participates in his escapades until 
she finds out his cause is only a front for thieving 
and killing. (Nov.) 

i/ BIRTH OF THE Bl I I v Paramount: In this 
natured, easy-going movie, Bing Crosby, a 
Southern lad, finally rounds up the first white band 
to play blues music and, through the aid of Mary 
Martin's singing, gets a hearing. You'll like every 
minute of it. tin music and the cast, which includes 
Brian Donlevy and Rochester. (Dec.) 

bia: The ever-present jewel thieves are here again 
in tins tired plot, with Florence Rice as a scheming 
actress who swipes the pearls from Leif Erikson and 


Gordon Jones, and then sets out to win Alexander 
D'Arcy, only to find herself in a spot. (Nov.) 

BURMA CONVOY— Universal: Fast-moving, 
timely melodrama about the truck caravans bring- 
ing supplies along the dangerous Burma Road. 
Charles Bickford is the leader of the truck drivers, 
Frank Albertson his younger brother, and Evelyn 
Ankers provides the heart interest. (Dec.) 

\S<S DIVE BOMBER— Warners: Timely, in 
formative, and entertaining is this picture about 
the experimental work of flight surgeons in the 
Naval Air Corps. A feud between Errol Flynn and 
Fred MacMurray is the framework for beautiful 
aviation shots. Alexis Smith registers as a comer, 
and Ralph Bellamy and Regis Toomey lend grand 
support. (Nov.) 

DOWN MEXICO, IV A Y— Republic : When Gene 
Autry discovers his townsfolk have been gypped 
by a band of crooked movie promoters, he rides 
right over into Mexico to round up the varmints. 
Fay McKenzie is pretty and talented as Gene's 
new leading lady and Smiley Burnette is right in 
there pitching. One of the best of the Autry 
pictures. (Jan.) 

\/ DR. JEKYLL AND MR. HYDE—ii-G-li: 

Although this is its third screen version, it's a 
gripping, compelling, interesting picture. Spencer 
Tracy as the scientist overacts every now and then. 
Lana Turner is beautiful, but it's Ingrid Bergman 
who walks off with the movie. (Dec.) 

The sudden, tragic death of Laraine Day. fiancee 
i on her wedding day comes as a 

jarring shock. Through the comfort offered by 
Lionel Barrymore as L>r. Gillespie. Lew Ayres as 
: ,• is finally able to return to work after his 
grievous loss. Nils Asther is very good. 

yy DUMBO — Walt Disney: All the whimsical 
charm that Disney has lavished on his past 
fantasies is embodied in this heart-touching story 
of Dumbo, the baby elephant whose enormous ears 
causi him to be spurned and despised until he 
learns how to fly. It's warm and appealing and 
lunny. beautifully drawn and executed. (Jan.) 

Columbia: Ralph Bellamy is again the famous de- 
tective who solves some murders in a hospital, but 
it's the side splitting performance of two dumb 
bunnies, Paul Hurst and Tom Dugan, who play 

photoplay combined with movie mirror 

their roles straight, that provides riotous fun (Dec.) 

FLYING BLIND — Paramount: Loads ot noise and 
thrills and romance are packed into this thriller 
about spies and intrigue on a honeymoon air ex- 
press. Richard Arlen is the pilot who neglects his 
romance with Jean Parker until they find themselves 
in a plane with villain* Roger Pryor and Nils 
Asther, and daffy bride Marie Wilson. (Nov.) 

When Jack La Rue is released from prison he 
returns to his brother's stock farm down South 
where he finds villainous John Holland, who origi- 
nally framed bun. Marian Marsh is his brother's 
wife, and little Mary Ruth, who's an accomplished 
musician, is her stepdaughter. (Dec.) 

Paramount: Jimmy Lydon, as Henry, handles the 
frustrations, trials and tribulations that confront 
him when running for student body president with 
all the finesse of a veteran. Great support in June 
Preisser, Mary Anderson, Martha O'Driscoll and 
Vaughan Glaser overcomes the weaker moments. 

IONKY TONK — M-G-M: A rambling story about 
i Western con man, Clark Gable, who with his 

al Chill Wills, gets elected the big boss of a town 
md taxes the peopie into rebellion. Lana Turner's 
a nice girl from Boston and the daughter of Frank 
Morgan, whom Clark marries on his way up, and 
Claire Trevor is the dance-hall girl. (Jan.) 

/HOT SPOT— 20th Century-Fox: When Victor 
Mature, Alan Mowbray and Allyn Joslyn turn 
waitress Carole Landis into a glamour girl and she's 
iound murdered, Mature and Carole's sister, Betty 
Grable, become suspects and are relentlessly pur- 
sued by menacing detective Laird Cregar. Cregar 
is terrific and it's a fast-moving, suspenseful 
picture. (Jan.) 

Century-Fox: An Academy Award contender is 
this great human-interest document of a boy's life 
in a Welsh mining town. Marching through the 
beautifully directed story are the father, Donald 
Crisp, and the mother, Sara Allgood, with their 
sons, among them Patric Knowles, John Loder and 
Roddy McDowall. Maureen O'Hara is the beauti 
ful daughter and Walter Pidgeon the preacher. 
Flawless and spellbinding. (Jan.) 

Beautiful spy Ilona Massey leads George Brent 
of the F.B.I, and Basil Rathbone of Scotland Yard 
a merry chase from London to Lisbon to America, 
as the two men attempt to find a gang of saboteurs. 
The two detectives are charming and witty and 
Ilona is delightful. Gene Lockhart is also very 
good as the wealthy pro-Nazi. (Jan.) 

KID FROM KANSAS, THE— Universal : A 
blight, sabotage and all kinds of trouble hit the 
banana plantation of Leo Carrillo; and Andy Devine 
and Dick Foran receive the blame for it all until 
Koran escapes from jail and uncovers the real 
rascals. A lot of action is mixed up in the story 
and the trio of actors do right well. (Dec.) 

This famous stage play is superbly translated to 
the screen with a never-relaxing suspense. Ida 
Lupino is mainly responsible for its compelling 
quality of repulsion and sympathy, as the com- 
panion who ruthlessly murders to provide a home 
for her mentally ill sisters. Louis Hayward, too. 
rates honors, as does Evelyn Keyes as the maid, 
and Edith Barrett and Isobel Elsom. (Dec.) 

M-G-M — Andy grows up the hard way when he 
takes a fling at earning his own living in New 
York; and hunger, a golddigger and the tragic 
death of a friend teach him a much-needed lesson. 
Mickey Rooney is tops as Andy, as is Judy Garland 
as the annoying girl friend. Pat Dane and Ray 
McDonald rate plenty of raves. (Nov.) 

Radio: An Academy Award contender is this grip- 
ping tale. Bette Davis as the ruthless Regina holds 
ber own with such members of the New York stage 
cast as Patricia Collinge, Charles Dingle and Dan 
Duryea. Herbert Marshall is perfect as the sick 
husband and newcomer Teresa Wright is a coming 
star. (Nov.) 

Laughs follow one after the other in this un- 
sophisticated comedy about a radio entertainer, 
Kdgar Bergen, who with Charlie McCarthy lands 
in a small town where he helps Fibber McGee and 
Molly defeat a couple of land sharks. Lucille Ball 
and Neil Hamiton add to the fun. (Dec.) 

yy LYDIA — Korda-U.A.: Different, fascinating 
and heart-warming is this flashback review of the 
suitors in one woman's life. The men who loved 
Merle Oberon but failed to win her are Joseph Cot- 
ten, George Reeves, Hans Yaray and Alan Mar- 
shall. All give fine performances. (Nov.) 

yy MALTESE FALCON, THE— Warners : 
This is one of the best mystery pictures since the 
first "Thin Man" and a masterpiece of well- 
sustained and acted entertainment. Mary Astor 
enlists the help of detectives Humphrey Bogart and 
lernnie Cowan in her efforts to recover a priceless 
falcon statuette. Sydney Greenstreet offers some- 

(Continued on page 103) 


>/6Js& /fcreZT 

Come out in 



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You can be if you give yourself a personal 



Candid-ate for 
the role of Maria 
in "For Whom 
The Bell Tolls": 
fay McKenzi 

check-up on this important make-up point 

Jx^ate youiieLQ a. blj tound jeto . . • 

— if you're not "fussy" about the way you put on your lipstick. 
Take Fay McKenzie — she's a fussy one, and she's also one of the 
prettiest girls in Hollywood. She's getting herself talked about right 
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finger to spread the rouge softly over the lips and be sure the 
color is carried out to the extreme corners. Most important, 
have a variety of lipsticks so your color matches your outfit. 

(five youtieln a. p<zt on tne o<zclc . . . 

— know the trick of painting your upper lip just a bit more 
heavily than your lower one. Also, be smartly aware that the 
lines of your lips should always turn up; otherwise you'll look 
like a candidate for the title of saddest girl in the world. 

ft ut on the dunce 5 cap . . . 

— if you haven't realized that you can get a very glamorous 
effect with lipstick if you use a darker rouge as base and then 
apply the correct color over it. Keep to the old theory of 
rouging, then applying a bit of powder, then rouging again. 
You'll be good for a whole evening under the bright lights 
without having to re-do your mouth make-up. Incidentally, 
you will never, of course, apply a new make-up over the old; 
there's nothing that makes your mouth look more old-shoe than 
fresh lipstick applied without a previous thorough clean-up job. 



— that you and your lips will look smooth if you catch on to the 
cure-all for winter's chapped lips: Cream or lotion rubbed into 
the lips every night as faithfully as you rub it into your hands. 

> atound u/e&Unq Lau'ceL 

wteathi . 


— if you know all about the tricks lipstick colors can play on you. 
For instance, you'll seldom wear a blue-toned lipstick in the daytime but 
you'll always wear one when you're going to shine under those modern 
artificial lights. If you don't believe it, try wearing an orange lipstick under 
today's bright lights and watch that lipstick do an unglamorous fade-out. 

C/et youtleLfj in the leadlna r&nLi on the -(Qzmu . . . 

—by playing hostess to them in the recreational groups that are springing up all 
over the country. Be like Fay McKenzie again, who's acted as one of fifty Holly- 
wood hostesses to the U.S.O. at Ciro's: Make your lips look pretty by smoothing 
just a bit of lustrous cream over your make-up, keep smiling with the corners of 
your mouth up, dance with these gallant defenders all night long, and keep both 
yourself — and your make-up — wearing well. 





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A reliable guide to recent pictures. One check means good; two checks, outstanding 

Film of finished deftness: Shirley Temple 
and Laraine Day in M-G-M's "Kathleen" 

Wit, dancing, beauty and fun: Zorina 
and Bob Hope in "Louisiana Purchase" 

^ Kathleen (M-G-M) 

It's About: A little rich girl who mar- 
ried her dad to the right girl. 

THOSE who said Shirley Temple 
was no longer a favorite with the 
fans may now eat humble pie. Shirley 
at twelve is a better little actress than 
ever before, having lost all her baby 
mannerisms and gained not only poise 
and self-assurance but a new beauty 
and charm. We base these assertions 
not only on our own opinion but on 
those of the preview fans who actually 
cheered Shirley after the showing. 

Like a glove the story fits Shirley's 
needs. It has her the lonely, mother- 
less child of well-to-do Herbert Mar- 
shall, missing her father's company 
and loathing the snooping companion- 
housekeeper, Nella Walker. When 
Miss Walker is finally sent packing, 
Laraine Day, a doctor of child psy- 
chology, replaces her. 

In the meantime, Mr. Marshall de- 
cides to marry Gail Patrick, of whom 
Shirley disapproves. In her place, the 
little girl schemes and plans to put 
Miss Day whom Shirley has come to 

There's an air of finished deftness 
about the whole story that radiates 
well-being, good humor and charm. 

Felix Bressart is splendid as the 
antique dealer and friend of Shirley's. 

Your Reviewer Says: A honey with a 

The Best Pictures of the Month 

Ball Of Fire 


Louisiana Purchase 

They Died With Their Boots On 

One Foot In Heaven 

The Chocolate Soldier 

Best Performances 

Barbara Stanwyck in "Ball Of Fire" 

The professors in "Ball Of Fire" 

Shirley Temple in "Kathleen" 

Richard Whorf in "Blues In The 

Errol Flynn in "They Died With 
Their Boots On" 

Fredric March in "One Foot In 

Nelson Eddy in "The Chocolate 

Rise Stevens in "The Chocolate 

Robert Young in "H. M. Pulham 

Don Ameche in "Confirm Or Deny" 

Elizabeth Bergner in "Paris Calling" 

^ Louisiana Purchase 

It's About: The schemes hatched by 
the fall guy for conniving crooks. 

FROM the stage comes the musical 
hit, "Louisiana Purchase," to wrap 
itself around three intriguing person- 
alities, Bob Hope, Vera Zorina and 
Victor Moore. With the aid of Irene 
Bordoni they shuffle off to Buffalo and 
all points west for a well-rounded, 
deliciously curved comedy. It is not 
the most hilarious picture we've ever 
seen or even the fun-fest it could have 
been, but it will do nicely until Para- 
mount's producer, Buddy DeSylva, 
gets the hang of movie comedy. 

Hope is made the butt of four 
Louisiana crooks who call themselves 
The Louisiana Purchasing Company. 
When U. S. Senator Victor Moore 
comes down to investigate the com- 
pany, poor Hope is on the spot until 
he conceives the idea of framing the 
Senator into compromising situations 
with Vera Zorina, a scheme that back- 
slaps Mr. Hope in his scoop-faced pan. 

Hope scores with his wit and Zorina 
with her dancing. Rare beauties 
polka-dot the screen here and there 
to lend intrigue to the whole Techni- 
color scheme of things. The Mardi 
Gras scenes are especially colorful. 

Your Reviewer Says: Fun. color, mu- 
sic, beauty — the 4A Muses. 

(Continued on page 24) 



photoplay coiiibnied with mctte mirror 



***oi«» * 


20th Century-Fox is now producing 6? J 'J , ^ 

these grand, new pictures you'll soon ^V^^^ 

be seeing in your favorite theatre! \] * ■ 




^BeM** 1 * 

ob^SS 8 ^ 













■**IH S 




mm mma wm sasr ^ 

Produced by DARRYLF. ZANUCK • Directed by JOHN FORD 



m & l 

X € 

Timely excitement: Elizabeth Bergner 
and Randolph Scott in "Paris Calling" 

Startling and different: Barbara Stanwyck 
and Gary Cooper in Soldwyn's "Ball Of Fire" 

" Paris Calling (Universal) 

It's About: French sympathizers, with 
the aid of an American aviator, con- 
spire against the Nazis. 

A REVEALING insight into the 
news behind the news is this 
picture of French sympathizers who 
work secretly to throw off the bur- 
den of the Nazi yoke. Elizabeth Berg- 
ner, as the wealthy French girl who 
throws in her lot with the secret 
French sympathizers, is terrific. 

Randy Scott as the American flyer 
with the R.A.F. and Basil Rathbone 
as the Frenchman who betrays France 
are very good. 

Lively moments, timeliness of theme 
and an aura of excitement dress this 
story in thrilling garments. 

Your Reviewer Says: Thumbs up. 
"V Ball Of Fire (Goldwyn-RKO) 

It's About: Consequences when a pro- 
fessor meets a night-club floozy. 

WHEN Mr. Samuel Goldwyn 
shears the lullaby gaps from 
this wildly hilarious comedy, he'll 
have on his hands a picture startling, 
new and different in idea. 

Gary Cooper, the slow-burning 
"Ball Of Fire," and Barbara Stan- 
wyck, the night-club babe, go to town 
with two wild performances. If you 
don't break your funny bone laugh- 
ing, we miss our guess. Gary is one 
of a group of professors slowly and 
laboriously compiling an encyclopedia. 


(Continued from page 22) 
As the English professor, Cooper sets 
out into the city to broaden his 
knowledge of slang. His roamings 
gather in Stanwyck, on the lam from 
the police. What happens to the pro- 
fessors, especially Gary, under Stan- 
wyck's guidance, shouldn't happen to 
the seven dwarfs. 

Kathleen Howard, Allen Jenkins 
and the professors lend tremendous 
support. With those bad, draggy mo- 
ments eliminated, this should prove 
a ball of fire at the box office. 

Your Reviewer Says: The answer to 
the $64 question. 

^ Confirm Or Deny 
(Twentieth Century-Fox) 

It's About: An energetic head of an 
American news service in London. 

HERE'S just about as peppy and 
active a little piece of timeliness 
as has been catapulted out of Holly- 
wood in a long time. Don Ameche, 
the human dynamo of an American 
news service in London, injects so 
much nervous energy into his work 
the audience is pitched to a high C 
tension throughout. 

The attempts to keep open for busi- 
ness despite the bombings keep the 
news service two crater leaps ahead 
of Hitler, with Joan Bennett, John 
Loder, Raymond Walburn and Roddy 
McDowall caught up in the scramble. 
Joan Bennett is very good in her role 
of the English girl employed by the 
service. Roddy McDowall, who val- 
iantly sticks to his post, and Arthur 

Shields, as the blind newspaperman, 
are both splendid. 

It's firecracker fare, so don't expect 
to relax or sneak any catnaps. 

Your Reviewer Says: Zip-p-p-p. 

^ Sullivan's Travels (Paramount) 

It's About: A would-be tramp who 
achieves his wishes. 

AM E S S A G E picture that de- 
nounces messages is the theme 
of this rambling, somewhat garbled 
story; it's entertainment that some- 
how misses greatness. 

Joel McCrea is a rich young Holly- 
wood motion-picture producer who 
wants to make a message picture 
labeled "Brother Where Art Thou?" 
Persuaded he knows nothing of the 
hardships of life, Joel sets out in rags, 
equipped with a ten-cent piece. 

Landing back in Hollywood, he 
picks up an extra girl. Veronica Lake, 
and this time the two of them start 
out on the bumming road, like two 
derelicts. In Hollywood again, Joel 
sets out a third time on his philan- 
thropic mission, gets knocked out, 
lands in a prison road gang and 
eventually emerges to forsake his 
morbid picture ambitions for comedy. 

One of the most powerful moments 
ever filmed is the scene, played — and 
sung — by the Hall Johnson Choir, in 
a Negro Church. 

Your Reviewer Says: See it — for that 

(Continued on page 106) 

photoplay combined with movie mirror I 

Thomas Mitchell is not popular 
among the press, though they 
agree he's one of the best actors in 
the business. 

The town actually has the nerve to 
link Mickey Rooney's name with 
Norma Shearer's name romantically. 
And there are actually some people 
who are silly enough to believe it. 

Friends are hysterical over the gift 
Bing Crosby brought his wife from 
South America. It's a mahogany foot- 
stool, of all things. Try wearing that 
to Ciro's! 

The feud between comics Bob Hope 
and Red Skelton has calmed down to 
a tornado. It began when one of Bob's 
radio gag men deliberately bolted 
over to Skelton's side. 

Jni>Ue Stuff 

Gable has a red face. For once he 
thought he knew better than wifey. 
Carole advised him to buy up nails 
for use on the ranch before defense 
priority set in; he didn't think the 
buying of nails very important. Well, 
finally came the time when Mr. Gable 
needed nails badly and was grinding 
his teeth because he hadn't bought 

Whereupon, Mrs. Gable led him out 
to the barn where she'd hidden 2,000 
pounds of nails, bought at seven cents 
a pound. Hollywood stores are now 
phoning Clark offering seventeen 
cents a pound for the nails! 

Two girls who have ruined their 
good looks by dieting — Judy Garland, 
who has added ten years to her age 
through loss of poundage, and Ilona 
Massey who now possesses only a 
shadow of her former beauty. 

Olivia de Havilland takes her din- 
ner along in a hamper to Ciro's, so 
strict is her diet. Olivia's date these 
nights is usually Roger Pryor, es- 
tranged husband of Ann Sothern. 

The town is giggling over Fred 
Astaire's odd experience. Fred, who 
is completely sold on the acting ability 
of Joan Leslie and is so anxious to 
have her for his next leading lady, 
was afraid to leave the deal to agents 
and decided to phone Joan himself. 
Her sister answered the phone. 

"Oh, I'm sorry, Joan can't come to 
the phone now," she said. "She's up- 
stairs doing her homework!" 

tot! i WF* 

Romantic "Find"! 

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("but he walked right out of the dream) 



Helen, my P et ' , t unti i i 

« hat a ^'happened. That Dream 
tell y° u what * tSne about has 
™ l \l S W f ^Vc?Sig« V ^st /opped 
^sudden^out of th,n a,^ And 

ft all places -on a ■*££- the trip , 

1 had J^t got =e Uleo. 
when I happened to gia a the 

there he wab - two en deep- 

most bee-u-ti-ful. gorg ned for... 

hronzed male a gal ever > & sort 

Sfng ^ffe^ten-fn-fhree-days took. 
of l-haven t-eaten And ne 

His name's Cary For D am 

lives up near here. He les , i 

Guv ' aU ^ber' very much of anything 
can't remember very ..except that 
that we talked abou t^ to be 

when he said he «s | z thou ^' 

on this housepart^ - n this . . 

for a 


- a dance tonigm.- 


vAeleh- i sWuidf'^etW" 

- a 1 "ess Sraij^^^^ 
^ en L D pened3°^ dance, ^ an ced 

1 6 uo tn vou *"~ n e,ed c u » r t . the 
^ ten to » , s c hanfe too • _ 

,rl Vned- h ' suddenly ' waa 

ther h 1 ^, t don't t" ve mn& v 

wo^^tUV^JHaieV ^U" ° ^ 

other nijfi don' \\- e ven^- 

«»V «%" H« * !V 4l4 .««^U 

Helen- hv that note - 

What did you mean by^that ^^ 

"See page °^ p f in e advertisement 

That's a LlSte " %„relv, you're 
Ibout bad wreath Surely ;t y n . ne . s 

not trying to ten 

that way? 

I hope it s . n °n ut if it is, it s 
were hiding at. B ut, last , ime 
certain y going to t<> say a 

thfng liHe t^at about me. 



top an a s y d deniy ^ of * e Jthe roa*. 
Ranged. ri ng ah s0 *eth er &e t 
¥»« S3 lateV we J t he 

^ott ca T c ted as J- ■ ^ e d <f ,^n b^* 
•a»- S? s & d " Lr i. *f could vt *•< 

■"iff £• «2ft* ** 

f&t b» ^ 1SS f>^— 


He L darling. 

*"*«? marvelous ' ^ rythin S' s *on- 
c /jy's just the »av g ho ge ° us again! 
day on the train y he was that f, : ^* 
and kinder e a^nVce^V^ "itS"* 
guy he is! er - ^osh what a 

^oleTl^H ?** X th ^ ho. 
"ght-abou? that nn? g hio ' Y °» "ere 
sorry if T was st,,??* 6 ' 2 mea n. I'm 
couldn't be ml,l Uffy abo "t it T 
b ody for My th fnV gr | tefui n°* to anv 

made everything \if e Llst erir.e that 
tween^Carfand^e " right again be! 

'»ea? e iary"' l, i"? v I ? onie tomorrow t 

Sis* t&r^zss.&fc 



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such fermentation . -. . then overcomes the odors it causes. 

• So why not take the easy and delightful precaution which has 

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LISTERINE for halitosis (bad breath) 



When We Look Back 

N DAYS like these, with our country at death grips 

with the Axis, it seems singularly unimportant that in 

a few weeks the Academy will give its annual awards 
or the best pictures and achievements of the year. And 
ret looking back in later years, the trivia of these days 
vill take on a certain bemused interest. 

Will any of the pictures which you and I saw during 
941 live in our minds through the explosive years ahead 
if us? Which have qualities that will make them suffi- 
iently memorable so that when we look back they will 
:ome to life again? 

Each year The Film Daily, trade paper of the industry, 
sks the editors of America to vote on the ten best pictures 
if the year. Putting aside any technical considerations — 
or several of the pictures which I know are memorable 
lad to be excluded from the famous Film Daily poll 
>ecause they were released a little too late in the year — 
et's look 'era over. 

"Dumbo" you will always remember for its exquisite 
enderness as well as for its great good humor. Who can 
ver forget the enchanting absurdities of little Dumbo, 
he flying elephant? 

"Citizen Kane," much discussed, much censored, will 
ie remembered because of its superb adroitness in using 
n episodic technique in masterful dramatic fashion. 
Everyone who saw the picture, even those who didn't 
ike it, had to admit that here was a new mind, a new 
magination at work. 

Man's relations with the beyond would not seem a 
ubject for a constantly amusing and always believ- 
ble picture, but that is exactly what "Here Comes 
dr. Jordan" turned out to be. It is memorable not 
nly for Robert Montgomery's and James Gleason's 
pirited performances but also for the most original story 
if the year. 

For its dramatic intensity we shall surely remember 
The Letter" and the fine acting of Bette Davis and the 
ate James Stephenson. 

Better than the stage version, "The Philadelphia Story" 
hould be remembered as the best comedy of manners 
if 1941. 

For propaganda which really came off and at last 

showed some sign of hope for the misled German people, 
"Underground" belongs on this list. For propaganda 
combined with swell melodrama, "Night Train" wins 
special mention. 

Also tied to the events of today but to be remembered 
chiefly for its poignant, heart-rending love story, "Hold 
Back The Dawn" cannot fail to live in our minds. 

Using as its theme the richness of the lives of simple 
people, "How Green Was My Valley" left me feeling that 
I had shared the daily living of those in that little Welsh 
town. I'm sure I shall never forget the experience. 

TO ROUND out the ten most memorable pictures of the 
year — and it is by no means the least because it is men- 
tioned last — let us include "Sergeant York." Patriotism 
can so easily be made maudlin or jingoistic; this picture 
made it something simple and moving, something im- 
portant in the heart of a man — so important that for it he 
is willing to compromise with his ideals. 

Yes, the Academy will be choosing the best picture of 
the year, best performances, et cetera; certainly they 
could do no better than to pick "Sergeant York" for the 
best picture and Gary Cooper for the best male 

Last year they picked James Stewart for "The Phila- 
delphia Story," which makes it impossible for Katharine 
Hepburn to win it this year for the same picture. Due to 
the fact that technically the picture was released in 1940 
she will be out of the running for a 1941 Award, which 
to my mind is a pity because she deserves it. But there 
is an easy second choice — the performance of Olivia 
de Havilland in "Hold Back The Dawn." 

And for the finest character performances, Donald Crisp 
in "How Green Was My Valley" and James Gleason in 
"Here Comes Mr. Jordan" should vie for the honors. 

This year a child has given a great performance and 1 
hope the Academy will remember it — that of Roddy Mc- 
Dowall in "How Green Was My Valley." 

When we look back in later, more peaceful years, the 
details of many of these pictures will be forgotten. But 
for one reason or another I believe each one of the ten 
will be remembered. 

EBRUARY, 1942 


No one ever before went to Gene Tierney and asked her for the real story of her 
marriage to Oleg Cassini. So now, in appreciation, she gives us the dramatic truth 

Gene's mother commented on 
Oleg: "He's the only per- 
son who calms you down" 


" I DEFY Hollywood gossip-mongers, 

I or my family, or anyone else to 

I break up my marriage. I'll make 
it last if I die in the attempt!" 

Gene Tierney's eyes flashed green 
fire. She had just read another story 
about her marriage to Count Oleg 
Cassini, written by someone who had 
never seen her about it, and the star 
of "Son Of Fury" was smoldering. 

"I've been told that I should laugh 
at these stories, but I can't. They 
burn me up. My marriage means too 
much to me for me to laugh when 
things that are not only untrue, but 
unfair, are printed about Oley and me. 

"I'm fed up with these sob stories 
about The Poor Little Rich Girl, 
Whose Hasty Marriage to The Foreign 
Nobleman Has Made Her a Countess 
—But Isn't Likely to Make Her 

"I didn't marry Oley for his title. 
For one thing, he won't have a title 
after November first, when he be- 
comes an American citizen. And he 
didn't marry me for my money, be- 
cause I don't have any money except 
what I earn — and he earns a good 
living, too. Also, we didn't elope two 
weeks after first meeting. We went 
together for six months before we 

"People seem to have the idea that 
I married a suave, elderly gentleman 
and that he married a naive young 
schoolgirl. To be exact, Oley is 
twenty-eight, and I was twenty-one 


on November the twentieth. 

"Sometime, somewhere, I wish 
somebody would get the whole story 

It sounded as if she might be in 
the mood to give the story. 

"I've always been in the mood to 
give it," she said. "I don't know why 
people have preferred to make up 
their own stories, instead of asking 
me for the real one. Maybe they've 
been afraid I would be afraid to give 
them the facts." 

Gene smiled at the ridiculousness 
of her having any timidity on that 
score. And she looked positively 
happy to see us produce paper and 
pencil^ ready to take notes. 

She started at the beginning. 

"We met at a party that Johnny 
Maschio and Connie Moore gave — 
last December," she said. "I was in- 
vited because Johnny was my agent. 
Oley was invited because he had de- 
signed Connie's clothes for 'I Wanted 

"Sometimes I wonder if he would 
have been interested in me that eve- 
ning — if he hadn't liked what I was 
wearing. He asked me for a date. 
I told him that my time was pretty 
well taken up. Then he asked if he 
couldn't have my phone number, at 
least. I was reluctant to give it, be- 
cause I wasn't particularly attracted 
to him — I didn't think he was hand- 
some — but I did tell him the number, 

"A couple of nights later he phoned. 
I knew he was going to ask for a 
date again and I wanted Mother to 
talk to him and tell him I was busy, 
but she thought I should tell him 
myself. Ironic, isn't it, that Mother 
didn't try to discourage him then and 

"So I went to the phone and, sure 
enough, he asked me for a date. And 
I kept saying, 'I'm so sorry — but I am 
so busy.' He kept me on the phone 
two hours, refusing to take 'No' for 
an answer. Finally, I gave in. I said, 
'All right.' And came away from the 
phone, mad at myself for saying 
that. But" — she smiled — "I'm not mad 
about that any more. 

"Our date was for New Year's Eve. 
We were going to Ciro's. So I dressed 
in something I considered pretty ele- 
gant — an evening gown in the Empire 
style, a la Josephine, which I had 
designed myself. I thought I'd let 
him know that I was a designer, too. 
In fact, I almost took up designing 
as a profession, instead of acting. I 
would have, if I had listened to my 

"So I came forth in my Josephine 
gown — and I was greeted by this 
expression of dismay on Oley's face. 
'Where,' he asked, very pained, 'did 
you get that horrible dress? It's not 
for you. It's much too extravagant. 
You look like Betty Boop in it. You 
should wear very simple things. 
Please, won't (Continued on page 70) 



some happy, some ominous — as seen 

IT is 1942. Hollywood, beware! 
Once more I consult my charts 
in order to look into the future 
and warn the stars of coming events. 
But, before I unfold the future for 
you, let's take a look at the February 
issue- of Photoplay-Movie Mirror for 
1941. I turn to page 72 and quote 
from "Hollywood. Beware In 1942!": 

Katharine Hepburn: "The tempes- 
tuous Katharine Hepburn appears to 
come out from under the bad aspects 
which have been dogging her for some 
time. During most of 1941 she is 
under good vibrations so far as her 
public and her career are concerned." 

"The Philadelphia Story" brought 
Katharine back with a loud explosion 

of praise from both cxitics and public. 
She appears to have mended her 
ways and her manners with the press 
and with Hollywood in general and 
according to the last reports I re- 
ceived Katie has the world and her 
studio by the tail. 

Myrna Loy: "Professionally My ma 
is under fine aspects . . . Her private 
life, however, is something else again. 
The position of her stars shows ten- 
sion, conflict and serious misunder- 
standings in the home." (Editor's 
note: Alter this article was written. 
Miss Loy announced that she and 
husband Arthur Hornblow Jr. would 

They separated, went back together 


photoplay combined with movie mierob 


reliable astrologer In the '42 futures of your favorite stars 

again and there have been reports of 
a second separation. More about this 

Shirley Temple: "What is going to 
happen to Shirley Temple? . . . Saturn 
in Taurus in bad aspect to her other 
planets puts her under a temporary 
eclipse for the next few years and no 
matter what she does in a profes- 
sional way, or how well she does it, 
she will meet with adverse criticism 
and unpopularity. It would be far 
wiser for Shirley to retire to private 
life until midsummer, fall or winter 
1943. At this time she will have all 
the appeal of a new and delightful 

Well, up to the time this article is 

being written (early November, 1941) 
there has been newspaper talk of 
radio programs, contracts with pic- 
ture studios and great plans for Shir- 
ley but a single picture, "Kathleen," 
is all of note that has materialized 
for the child and on that the public 
has not yet had an opportunity to 
give its verdict. 

I have at last obtained what I be- 
lieve to be Shirley's accurate birth 
year and will discuss her future later. 

Clark Gable: ". . . popularity and 
box-office appeal not only through 
1941 but for many years to come." 

Did he ever have more box-office 
appeal than in "Honky Tonk?" 
(Continued on page 73) 



V°^ ; 

Tyrone Power as Clive: 
He had a nice face. 
Nose a bit too fine, 
mouth a little large, 
eyes — the eyes were 
like his voice, tired 

OT by coincidence, it was the 
day France capitulated to Ger- 
many in the Forest of Com- 
piegne that Prudence Cathaway joined 
the WAAFs — the Women's Auxiliary 
Air Force. She signed up as an 
ordinary private, which was a severe 
shock to her family, whose influence 
could easily have got her an offi- 
cer's commission. Her Uncle Willfred 
summed up the general feeling as 
Uncle Willfred always summed things 
up, neatly: 

"For generations. Prudence, the 
Cathaways have been leaders, not 
followers. In joining this women's 
army as a private, a common private, 
you are deliberately throwing aside 
the hereditary instincts that entitle 
all Cathaways to lead." 

Nevertheless, because Prue felt she 
was no better than Annie, the local 
scrubwoman, simply because her 
family was old and rich and Annie's 
wasn't, she held to her decision. She 
was assigned to the camp near Gosley, 
in Kent. It was a collection of brown 
wooden barracks set on the edge of 
the downs and peopled by girls who 
had been, in civilian life, waitresses, 
chambermaids, stenographers, debu- 
tantes. Violet Worthing, who occupied 
the bed next to Prue's in the dormi- 
tory, was "local."' She was a big, 
healthy girl with scrubbed-pink 
cheeks and she confided that her 
young man was Joe Telson, who was 
also local and was going to join the 
Navy soon. Violet hoped to bring 
him to the point of proposing before 
he left. She was puzzled and a little 
hurt when Prue showed no interest 
in finding a young man of her own. 
In Violet's philosophy, there was little 
point in joining the WAAFs and 
wearing a nice uniform if you didn't 
hope to catch a man thereby. 

Prue had been at the camp a week 


photoplay combined with movie mirror 

!f you've decided it isn't right 
or you," he said, "we can pack 
p and go." But, being a woman, 
'he stayed. He was the one to go 

Screen play by R. C. Sherriff. From 
the novel by Eric Knight. Directed 
by Anatole Litvak 

Fiction Version by 


when Violet came into the dormitory 
one evening, almost in tears. It was 
Joe's last night in Gosley, his last 
chance to propose. And instead of 
seeing her alone tonight, he was go- 
ing to bring a chum. 

"Joe loves me right enough," Violet 
complained bitterly, "but he's just 
scared stiff about marrying. So he 
brings along a chum to walk between 
us!" She leaned forward in sudden 
appeal. "Prue — won't you do some- 
thing for me? Come out tonight and 
take Joe's chum away. Please! I just 
got to get Joe alone!" 

Prue hesitated, wanting to refuse. 
All her training, the ghosts of every 
snobbish ancestor, said that to go out 
with a man she had never met was 
common — common. Perhaps that was 
why she agreed and was with Violet 
when night had fallen, outside the 
camp gates. Joe and Joe's friend were 
only darker shadows in the black-out. 
Violet assumed command as soon as 
introductions were accomplished and 
almost dragged Joe, panic-stricken 
and helpless, down the road. His 
friend made an uncertain movement 
to follow them, but Prue stood where 
she was and said firmly, 

"There's a concert in the camp this 
evening. Would you like to go?" 

"If you want to. I really don't care." 
His voice was indifferent, tired; and 
it was not the kind of voice that 
should have been either. It was a 

Copyright 1942 by Twentieth 
Century-Fox Film Corporation 


Joan Fontaine as Prue: 
She was delicate, fine- 
boned, her face haloed 
by crisp golden curls 



,- /!>' 




young voice that had forgotten it 
was young. 

"Or perhaps you would rather 

"I've just told you. It doesn't mat- 
ter. I don't care." 

They walked for a time in silence. 
Then he said, "Is this what you usu- 
ally do when you come out like 

Sharply — "I don't usually 'come out 
like this.' " 

"Oh." He considered that for a 
few paces. "Then why am I specially 

"If you really want to know, I 
came to help Violet be alone with 
Joe. Or didn't you know Violet and 
Joe were in love?" 

"I didn't," he said. 

Far away, the eastern horizon was 
aglow with flickering, uncertain light. 
Searchlights swung back and forth 
through the air. The mutter of gun- 
fire came to them across the empty 
fields. "They're bombing Dover," he 
said. "Or maybe Canterbury." 

"They'll be bombing our camp one 
of these days." Prue's voice trembled 
a little. 

He laughed shortly. "Don't worry! 
They're not going to waste bombs on 
a WAAF camp . . . Cigarette?" 


In the brief flare of the match he 
saw her face for the first time — deli- 
cate, fine-boned, haloed by crisp 
golden curls. "What's the English 
aristocracy doing in the ranks of the 
WAAF?" he asked. 

"Are you one of the aristocracy 


"I neither hate nor admire them," 
he told her. "I ignore them." 

He lit his own cigarette then and 
she saw his face. It was a nice face. 
The nose was a bit too fine, the mouth 
a little large, the eyes — the eyes 
were like his voice, tired. He was 
dressed in shabby, poorly cut tweeds. 

"You're bitter about something," 
she said. "Isn't there anything you 
believe in?" 

He blew the match out, curtly. "I 
believe in people who know what 
they're doing — and where they're go- 
ing. Precious few of 'em around, just 

At ten o'clock they were back at 
the camp gates to meet Violet and 
Joe. All about them were couples 
kissing good-night in the darkness, 
ignoring the lack of privacy. He hesi- 
tated, then self-consciously pulled 
her to him and kissed her on the 
lips; she responded automatically, 

"Can I see you again tomorrow 
night?" he asked. 

"I don't know. I may be busy." 

"I'll wait for you here. If you can't 
come . . ." 

"If I can't come — then what?" 

He turned away to join Joe. ". . . It 
won't make any difference." 

Prue lay awake for a while that 
night, in her cot next to Violet — who 
was happy now, for she and Joe were 
engaged. In the darkness against her 
closed eyelids she kept seeing his face, 
briefly illumined by the tiny flame of 
the match. Her lips framed his name: 
"Clive. Clive Briggs." It was an ordi- 
nary name. (Continued on page 87) 

There was a silence. 
Prue was there in his 
arms, wraith-like in 
her soft negligee 

wm&$y^~ m 

Color Portrait Series: 

A/elion £d(lij 

Big name on the roster of stars ap- 
pearing, via the CBS Sunday night 
coast-to-coast broadcasts, on the 
Gulf Screen Guild Theater; now 
playing, on the screen, in M-G-M's 
"I Married An Angel" 

page 35 


Appearing in M-G-M's 

"H. M. Pulham Esq." 

page 37 

sxlta -Hauutottn 

Appearing in Columbia's 

"You'll Never Get Rich" 

page W 

<Lttol rltfnn 

Appearing in Warners' 

"They Died With Their Boots On" 

pagt 42 

photoplay combined with movie mirror 





J cA 

"What have I got in common with that glamour puss?" said Ann. "Me like that Maisie!" 
exclaimed Hedy incredulously. So they passed without speaking. Then they met. . . 

^iDlwt u-uiltli) ad ixmSwi 

In plain female circles this is called "letting down the 
pompadour" on the Ann Sothern-Hedy Lamarr situation 

NEVER let it be said that it can't 
happen here. 
We mean a lasting friendship 
between two G-girls — glamour girls to 
you. And long may they scintillate 
in their sequins and silver fox! Ever 
since Theda Bara beaded her first 
lash, you've heard tell that the dear 
girls are just sweet cinema sisters 
under the skin. As closely attached 
as the Siamese twins! But invariably, 
it seems, a friendship between Muzzie 
May Robson and Jane Withers is the 
kind that really rates. 

All of which compels us to point 
with pride and perplexity to those 
two luscious ladies. To Ann Sothern 
and Hedy Lamarr. In the face of it 
all, they've managed to become 
friends. Good friends. A less grue- 



some twosome we hope never to meet! 

By every law of human nature 
there's as much apparent reason for 
Ann and Hedy to be friends as there is 
for Dietrich to play Little Eva. When 
the possibility of such an alliance was 
merely mentioned, the misses Sothern 
and Lamarr all but held their pretty 
noses and shrieked. You see, each 
gave the other a nice juicy pain in 
the neck. And then they were intro- 

For almost two years Ann and Hedy 
used to pass each other daily on the 
M-G-M lot. Hedy, who is actually 
shy in the presence of strangers, never 
knew whether to speak. Ann, creating 

the impression that she was mentally 
on the China Clipper, was usually 
concentrating on memorizing her lines. 
So they didn't think too much of each 
other — if they thought of each other 
at all. 

At the time both girls were study- 
ing with Phyllis Laughton, a top 
Hollywood's dramatic coach. Know- 
ing them so well, it was Phyllis who 
first suggested that they'd like each 
other. Ann listened politely to Phyllis. 
Ann looked bored. Hedy smiled 
sweetly. And changed the subject. 
Strange as it may seem, Ann and 
Hedy don't have many close friends. 
Phyllis knew this. So she persisted. 

"But w-w-why?" Ann would ask, a 
slight note of irritation creepine into 
her voice. (Continued on page 85) 

photoplay combined with movie mirror 


No matter how small your budget, you can say "yes" if your rainy-day 
ritual is at all like the ingenious $ systems of these young stars 

THEY were having a huddle on 
the "Sweater Girl" set at Para- 
mount—Eddie Bracken, June 
Preisser, Betty Jane Rhodes, Phil 
Terry, Bill Henry and Ella Neal — six 
attractive young starlets typical of 
this rising generation of Hollywood 
celebrities. All around was the con- 
fusion of setting up a new scene, but 
it didn't make any difference to them. 
They had something else on their 
minds and that something was busi- 
ness. Business with a capital "B." 
The all-important business of han- 
dling that weekly pay check. 

They were serious about it, too — 
plenty serious. Time was, perhaps, 
when Hollywood movie stars spent 
their money for Moorish castles and 
pink automobiles and yachts as big 
as battleships. Time was when Holly- 
wood movie stars gave not a thought 
to the future. Tomorrow could take 
care of itself. But, as little June 
Preisser was saying in the huddle — 
"Tomorrow didn't take care of it- 
self. They found themselves down 
and out and on the county, lots of 
'em. It was pitiful. It still is. Me — 
I'm saving my money! When I get 
too old to work, I'll buy me a chicken 


farm or something and live on that!" 

At this point there was a certain 
amount of derisive laughter at thought 
of Junie's managing chickens. Never- 
theless, the group thought the idea 
was all right. They were agreed that 
money, at least some of it, is made 
to be saved! No living on the county 
for them, or at best on the largesse 
of the Screen Actors' Guild! Young 
as they were, imbued as they were 
with the joys and irresponsibilities of 
youth, money was nevertheless im- 
portant to them in a way you didn't 
expect it to be. It was important to 

"It isn't how much you save," Eddie 
Bracken threw in. "It's making your- 
self do it regularly, come hell or high 

The others agreed and from here 
the conversation progressed to how 
they were doing it. Savings bank, 
life insurance, annuities, bonds, com- 
mercial enterprise? Each had his own 
ideas, of course. 

For instance, Bill Henry who is, as 
you know, a married man with an 

infant son, manages to save about 
thirty per cent of what he makes. 
Of that, one third, or ten per cent of 
the whole, goes into payments on an 
educational endowment policy which 
in sixteen years will send Bill Jr. to 
college and on a $5,000 endowment 
policy to start young Bill out in busi- 
ness after he is through school. 

"I don't think you should have kids 
unless you fix up their future pretty 
well," Bill remarked. Of the remain- 
ing twenty per cent saved, half, or 
another ten per cent of the whole, 
goes into government bonds and the 
rest into a bank savings account. Bill 
also keeps a special savings account 
from which to pay his income tax 
each year so that his regular budget 
isn't upset. 

EDDIE BRACKEN said he saves 
about twenty-five per cent of his 
salary. Of this, a fifth, or five per cent 
of the whole, goes into what he calls 
his "director fund." You see, Eddie 
has one real ambition in life: He 
wants to be a screen director. Every- 
thing else he does is only a means 
to an end. During the making of 
"Sweater (Continued on page 79) 



n O^< -of' 

Twenty-five a week for 
life — that's what Lynn 
Bari will have someday 

*<oN ** 











•limn rf » *] « 

Rita Hayworth does a lot of 
things in public just to make 
her feel important. But in 
private she's quite different! 


Read and marvel: Best-figure-girl Hayworth wears 
filmy black lace — or the equivalent — only when pos- 
ing for publicity. Above: With husband Ed Judson 

SHE doesn't know how to cook. 
Her husband calls her Angel 

Her bust measures the same as her 
hips — thirty-four inches. 

She is always imagining that peo- 
ple do not like her. 

She was christened Margarita Car- 
men Cansino. 

She was born in a hospital, never 
wears a corsage, and has a disconcert- 
ing habit of humming when someone 
is talking to her.. She is frightened by 

She took the Rita from Margarita, 
adopted her mother's maiden name, 
Hayworth, because she wanted to 
avoid being typed as strictly Spanish. 
She is five feet, five and one-half 
inches tall and never answers letters 

She has a passion for garlic and raw 

She frequently sleeps in the raw 
during hot weather and goes to church 
an average of twice a month. She uses 
a heavy perfume. 

She doesn't like pork. 

She is very fond of shrimp cock- 
tails, never takes long walks and is 
given to worrying about herself. Her 
wedding ring is a plain gold band. 

She knocks wood, is superstitious 
about a hat on a bed, and declines 


sailing invitations because she gets 
violently seasick. 

She dislikes cats, has never gone 
skiing, and prefers stretching out in 
bed when reading. Her favorite 
comic strips are "Flash Gordon" and 

Rita Hayworth prefers pajamas to 
nightgowns — usually tailored and in 
stripes. Her eyes are hazel with 
brown pigments. 

She makes geometrical doodles 
while telephoning. 

She abhors having a clock near her, 
goes to bed at irregular hours, and is 
overly quick in criticizing other 
people's mistakes. Her childhood idol 
was Billie Dove, the silent film star. 

She has a habit of biting her cuti- 
cles, and believes that human snob- 
bery is artificially acquired. 

She rarely uses a cigarette holder. 
"Only in public places when I want 
to feel important." 

She loves playing wild poker for 
ten- and twenty-cent chips, and never 
remembers the name of the person 
she's introduced to. She religiously 
sees every Bette Davis picture. 

Her father is Eduardo Cansino — 
third-generation star of the Spanish 
dancing family. She weighs a hundred 
and fourteen pounds. 

Her hair was black but for photo- 

graphic reasons is now reddish au- 
burn with blondish highlights. Her 
husband is E. C. Judson, an oil 

She swims well, dives badly, and 
deplores her excessive reticence. She 
drinks three or four glasses of milk 
a day. 

She once stopped at a motel and 
swears she'll never do it again. 

RITA HAYWORTH sleeps on her 
right side, takes about an hour to 
fall asleep, and would like to be a 
nurse in the event we go into war. 
Her husband has always encouraged 
her being a glamour girl. 

She is usually punctual, graduated 
from high school and is invariably 
dressed on time while it is her hus- 
band who keeps her waiting. 

She never diets. 

She cannot crochet or knit. 

She adores strapless evening gowns 
but does not possess one. She likes 
sardines, oysters and the Russian 

She cannot read music. She has a 
mania for buying shoes and hats, 
seldom wearing any of them. She is 
made very nervous by heated dis- 

She goes to a masseuse twice a 
week, eats (Continued on page 68) 


The Editor 
receives an 


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Come behind the editor's desk 
for a moment and grapple with 
the problem that faced us recently 


After fishing for an inspiration 
we finally sent the following reply 



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— and received in answer 
this '-**- 

his letter 






,LKtlO« s 







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public ««•» 

,4 1941 
October 2*. 

irn ° Movie *i rror 
»P U VT Street 

lor* City. ^ ^ Ach i8 • 

5 »• ^ our eft* of C °° Per6 A -connection"' 

Peter Ashley! That 
bell. We reached into the draw- 
er and pulled out a story we had 
on young contract players in 
Hollywood, showing their trials 
and — for the few fortunates — 
their triumphs. Here's what we 
found: The biography of a 
young hopeful whoa changed 
his name from Guston to Ashley: 




There it was. James Suston — son of the Swedish consul 
to Yokohama — who, when asked if he had any famous 
ancestors, wrote, "I've been afraid to check up on 'em." 

Our dilemma is now solved. We'll be glad to give Cali- 
fornia's March Field a break, Private Guston. Here it is: 





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[b nolbjiiKHxt 

Hollywood hasn't made up its 
mind what to think about 
Deanna Durbin and Vaughn Paul 
and the other follow-suiters 


What gives in the Paulet 
Goddard-Charles Chaplin situ 
tion? The colony's attitude 
this is a great big surpr 

WHEN Benjamin Franklin said, 
"We must all hang together, 
or assuredly we shall all hang 
separately," he was expressing the 
motion-picture credo some years in 
advance. For it's Hollywood's pri- 
vate opinion that "United we stand, 
divided we fall" and the only fault 
to be found with this maxim is 
that, to date, the uniting force has 
been not one of courage but of fear. 
They've stuck together from fear 
of almost everything; gossip, black- 
mail, bad publicity, stories, pictures 
and the bad men within the indus- 
try. These last have been the worst 
of all and instead of running them 
out of town they've pandered to 

them and huddled with them and 
listened to them until it will take 
years to work off the hangover and 
get back onto the road of sanity. 

As an example of what I mean, 
let's take a prominent agent I know, 
a man with all the charm, personality, 
beauty of physique and mental ac- 
complishment of one of the lower 
order of primates. This gent wakes 
screaming in the night, dreaming that 
he's missed some important opening 
or official function and he'd rather 
be dead than to appear at such occa- 
sions unaccompanied by one of the 
ruling beauties. He has a list of the 
most beautiful girls in town, num- 
bered from one to ten. His secretary 

What about Katharine Hepburn? 
Hollywood thought one thing; 
the public thought another; 
Katie showed up Hollywood 

has a duplicate fist. The day before 
the function he "picks a number from 
one to ten" according to his mood, 
the secretary phones and the lady 
attends the party with him. Why? 
Because the poor darling is anxious 
to climb to stardom; she doesn't really 
believe he can, or will, help her, but 
she's deathly afraid he can and will 
harm her if she refuses. Occasionally 
one on the fist makes the grade — 
more often she doesn't. 

If Hollywood had taken the bold 
stand it's adopted since that Wash- 
ington investigation, now that the 
labor racketeers, Bioff and Browne, 
have been sentenced, we wouldn't be 
sitting back with our necks pulled in, 

photoplay combined with movie mirror 




— that these piquant secrets and ques- 
tion-mark rumors should be kept from the pub- 
lic. But dauntless Hopper smoked them out 

Damita: Even ex-husband 
ol Flynn admitted openly 
t what she did was eminent- 
on the fair and square 

Keeping everyone guessing is 
Mickey Rooney who has a cer- 
tain light in his eye but can't 
make up his mind. Or has he? 
And is it Ava Gardner, the 
gal he's looking up to at 
the Mocambo? Below: One 
bugaboo was broken recently. 
Result: Joan Fontaine's do- 
ing some heavy pleading con- 
cerning husband Brian Aherne 

waiting for the next axe to fall. 

The Hollywood Women's Press 
Club certainly started something 
when at their last meeting they de- 
cided to give out awards for the best 
loved and most cooperative stars and 
also their own booby prizes for those 
who cooperate least or not at all. Of 
course they had their tongues in their 
cheeks but they weren't quite pre- 
pared for the avalanche that de- 
scended upon them (to their secret 
amusement). Studio after studio 
called and said, "You aren't going to 
mention our Miss so-and-so as the 
least cooperative, are you?" Certain 
stars whom they'd been inviting for 
the past four (Continued on page 93) 






What happened in Ciro's that night 
made all Hollywood stop and stare. 
Then they started to talk — of the 
very things you're about to read 


Guaranteed to dispel 
any doubts about the 
Sterling qualities: "Dr. 
Kildare's Victory" 

CIRO'S, in Hollywood, is pretty 
blase. Goodness, it ought to be 
by now! But there was a flurry 
even in this diamond-studded joint a 
few weeks ago when Louis B. Mayer, 
entertaining a party there, rose from 
his chair and circled the room with 
a blushing, certainly a good-looking 
young man, introduced him to every- 
one in the place and announced 
expansively, "This is Metro-Gold- 
wyn-Mayer's next big male star!" 

Now, this was big news in anybody's 
night club and the customers all put 
down their glasses and their forkfuls 
of boned squab and stared and stared 
and stared. 

The flustered young man was Bob 
Sterling. Mayer's party was in Bob's 
honor and the entire affair seemed a 
sort of official debut for Bob and an 
admonition to the world at large to 
keep an eye on him from now on. 


As this is written, young Sterling, 
slightly bewildered and brushing the 
Stardust from his eyes after playing 
what he says was "a real love scene 
with Garbo — even if it was just a 
little one," is taking stock of himself, 
trying to figure out what comes next 
and, still more important, what he 
has learned from what came before 
which will help him from now on. 

On his fist of things-to-be-remem- 
bered for his own profit he has 
jotted "successful hitchhiking, selling 
things, sorting people out, learning 
from the wallops and learning not to 
expect what you probably won't get!" 
That last sounds a little morose, but 
there's a reason and we may as well 
start to sort this all out. 

It all started, really, back in New 
Castle, Pennsylvania, when he was 
offered a three-week vacation from 
his job, without pay. It was the 

"without pay" clause that got him 
down. For Bob had been making his 
own way since he was a shaver and 
he didn't consider a vacation, without 
pay, as a vacation. He considered it, 
in his lofty way, a "layoff." 

"A vacation," he said, logically 
enough — and to the boss, too — "is 
something you get for nothing as a 
reward for having worked your head 
off all year. A layoff is either an act 
of God or it's a raw deal and, which- 
ever this is, I think I'll quit." 

So he went home and said to his 
mother, "I think I'll go to Hollywood." 
She said, "I've been thinking that you 
probably would. When do you start?" 
Bob said, "In about half an hour." 
And his mother went tootling off to 
see that he had some clean sox to 
take along. 

It was all as simple as that. But 
not quite so (Continued on page 95) 

photoplay combined with movie mirrob 


The best buy you've had i 




years is this expose of 

"Louisiana Purchase," which 

covers Bob Clown Hope 



and uncovers— well, 
just take a look 

■ •'■> 


It has nothing to do with his- 
tory books; this "Louisiana Pur- 
chase" is a political sellout of 
a mythical New Orleans to the 
tune of Irving Berlin songs. Mr. 
Hope chortles his way through 
the film version of the stage hit 
as a rugged State Representative 




His aides-de-camp — not mythical— are Mar- 
garet Hayes and Kay Aldridge who cling 
strongly to their ideals (above) . Two of twelve 
girls chosen from 800, they passed tests on 
beauty of face and figure, song and dance 
talent, appearance in Technicolor. Margaret 
came from Paramount's contract list; Kay 
was a famous model. Jean Wallace (right) 
started in the film as an unknown newcomer; 
ended up as the new wife of Franchot Tone 





Fashion shows are things 
of beauty — that is they are 
until Bob Hope gets into 
them. He turns the "LP." 
one into a comedy riot. 
Star poser is Blanche Grady, 
former N. Y. showgirl-model 

Chicago's contribution to the 
"Louisiana" lineup is Alaine 
Brandes (left), former model. 
She came to Hollywood two 
years ago, was voted by photog- 
raphers the most photogenic of 
the younger players, now gets 
her first chance as a satin sat- 
ellite of the ermined Mr. Hope 

Sixth in the rounded dozen is 
Katharine Booth, who came from 
the studio's contract list. Over 
them all reigns Hope, who sings, 
dances (the first time in films) 
and, as usual, loses most of 
his furs and feathers, this time 
during the big Beaux Arts Ball 


Hollywood read the reviews, felt 

something big was happening, knew 

lit when they saw her as the 

sane Lana in "They Drive By Night" 


SHE was fifteen, then, when she 
came to New York, bound for 
Hollywood; and the way she 
looked, as she sat on the rail of the 
Berengaria pulling her skirts higher 
for the ship photographer's cheese- 
cake art, was a scandal for a child 
that age. Even for a young miss of 
seventeen, which she said she was, 
it was too much. She looked sexy, 
which meant, in 1933, as much like 
Jean Harlow as possible. Ida looked 
very much like her indeed. 

Her hair, if anything, was more 
platinum. Her clothes were cut for 
a Harlow-like figure: nature had 
given Ida that, all of it, plus eye- 
brows, which she had discarded in 
favor of pencil lines. Hollywood, 
when she got there, did one double- 
take and typed her at once. "We will 
bill her," they said, "as a kind of Jazz- 
age holdover," only up-to-date — a de- 
pression flapper, because that's what 
she is." 


But, as sometimes happens, Holly- 
wood was wrong, and she wasn't at 
all; and the next two years were 
misery after the varnish of newness 
wore off. She took a house with a 
swimming pool, because one did. Her 
mother lived with her, not only be- 
cause a girl had to have a mother in 
Hollywood but because Ida was fif- 
teen, and After All. She bought a 
big car, a radio-phonograph with a 
stack of hot-sweet records — no "clas- 
sical" music, she couldn't abide the 
stuff — and an apron. She went to 
previews in the big car, she gave 
parties in the house and around and 
even in the swimming pool, with 
the phonograph going all night long. 
The apron she brought out on oc- 
casion to wear while she beat with a 
spotless spoon at the bottom of a 
spotless, empty cooking pan over a 
cold stove. Studio photographers 
snapped her then; the pictures looked 
very nice, although completely un- 

real, on pages of magazines opposite 
pictures of her in a Harlow eve- 
ning dress. The stories accompany- 
ing the photos were titled "Frankly 
Foolish," "Lupin' The Loop To Holly- 
wood," and "You've Got To Be 
Naughty To Be Nice." Once some- 
body fell into her pool, fully clothed, 
whereupon the newspapers said you 
had to allow yourself to be pushed, 
with all your clothes on, into Ida 
Lupino's pool, and not get mad after- 
wards, or Ida wouldn't like you. There 
was a story about that. 

Also, on occasion, she made moving 
pictures for Paramount in which she 
invariably played an American girl 
with a slangy accent. The studio said 
she had the best American-girl accent 
on the lot, which always amused her 
because she was a true Cockney, 
born within sound of London's Bow 
Bells. No, the studio said, you are- 
what you are and as such you are 
perfect, and there's no point giving 


you parts where you have to act. That 
would ruin you as a property. No, 
once and for all ... . 

So that she was unhappy really, 
bored and furious and homesick for 
England. Jack's letter, the one that 
asked her to marry him, came on an 
afternoon when things had been 
particularly bad. She took it into 
the garden to read. The postmark 
said Baden-Baden, which surprised 
her mildly; she thought he'd got back 
from his tour before this. She sat 
sideways on the edge of a chair, 
tapping the rim of her sun glasses 
absently against her teeth as she 
read the impulsively written pages, all 
seven of them. 

After she had finished she looked 
very hard, for a minute or two, at 
a blackbird on a eucalyptus limb, 
trying to concentrate on the bird. 
Bjft it wasn't any use. 

When her mother, Connie, went 
into the garden later Ida was holding 
both hands over her face, but the 
tears were dripping dismally down 
the backs of them, even so. She had 
never been one to take emotion 
lightly, and she did not take it lightly 
now. You could hear what Ida 
Lupino thought of Hollywood if you 
stood in Santa Monica that night. 
When she was finished, a little quieter, 


A Lupino-Hayward pose in their 
courting days. He started by 
telling her to wash her face 

she told Connie she was going back 
to England, going home. To Stanley, 
her father. To Jack. 

"What," Connie asked, nervously 
peeling the polish from her nails, 
"will Paramount say?" 

"As if I cared/" 

But she did. She was honestly 
glad when her bosses, sentimental to 
the last, told her to try it for three 
months. "If you still mean it then, 
we'll tear up the contract," they said; 
after she'd thanked them and been 
shown to her car they turned quietly 
to each other, smiling. They knew 
what London, contrasted with Holly- 
wood, would do to a girl of Ida's 

Still, they couldn't know that one 
evening, even while she and Connie 
and a servant were packing trunks 
for the journey, a cablegram would 
come, saying incredibly that Jack had 
had an accident in Germany, cycling 
one day; that he was dead, that de- 
tails would follow by mail, that .... 

"All right, don't read any more 
of it," Ida said. She was holding a 
silk blouse in her hand; she folded 
it, tore it neatly in two, folded it 
again and placed it precisely into a 
corner of her steamer trunk. 
"Stanley's meeting the boat train, 
didn't he say? Don't forget that 

packet you've tied up for him. Put 
it in the big case." 

"I'll do that now," Connie whis- 
pered, although she had done it the 
night before. 

Ida returned to Hollywood before 
the three months were up. The second 
night, at the Savoy Bar, in London, 
Stanley had told her she would want 
to do that. "It's your new life, your 
whole new world," he'd said, grin- 
ning cheerfully at her over his glass. 
"You've had a rotten do, Ducks, but 
you'll pop back and things'U be better, 
wait and see." 

And she did, and they were. For 
one thing, she met Louis Hayward. 

The new house she took was in the 
Outpost, clinging to the side of a hill 
and boasting a wandering sort of 
garden that fell precipitately into that 
belonging to the house below. Louis 
owned the house below. On the rare 
occasions when she paused to think 
about it, she knew that he was also 
English, also of her profession, and 
that she had met him once, briefly, 
three years since on an Elstree sound 
stage. They had not hit it off. He 
had thought her a silly punk kid, and 
she had found him offensively ar- 

Sometimes, though (it couldn't be 
helped, living so close and all), they 
met in the late afternoon when both 
were out walking dogs. 

The cliche situation of the friendly 
pooches' cementing their owners' 
friendship did not work in this case, 
since the animals loathed each other 
on sight and frequently fought, with 
both Ida and Louis commanding their 
respective pets to desist from slum- 
ming and come away from the 

But once Louis stood alone, just 
around the bend of the road as Ida's 
collie led her along it. It was one of 
those evenings, with a white moon 
washing the whole incredible Cali- 
fornia backdrop in a chalk fight, 
silhouetting Louis to his advantage, 
making him look alone and — some- 
how — bereft. Suddenly contrite, Ida 
pulled the collie back. 

"Is — your dog in hospital?" she 

"He's languishing in his house," 
Louis said; adding, as if pleased with 
the thought, "Securely chained, too." 

"How really beastly of you," Ida 
told him warmly. 

"You don't know the circumstances. 
He ate part of a neighboring clergy- 
man last night, and this is his punish- 
ment. Besides," said Louis, "I've 
had in mind to give you a talking to, 
lately. Come along, Lupino." 

"Likely!" she said, with the sound 
of the Bow Bells in her voice. " 'Oo 
are you telling 'come along,' I'd like 

There was, then, the delicious 

photopiay combined with movie mihbor 

Tightness of his accent in return, the 
perfect adenoidal Cockney usage that 
only the English, somehow, can 
achieve: "Come off it, 'oo d'you think 
you're coddin'? Keep a civil tongue 
in your 'ead, Miss." 

"Very well, Mr. Hayward," she said, 
almost demurely. 

They talked late that night, and the 
next; and six nights later they talked 
again, on which night they fought 
heatedly into the small hours. "It's so 
wrong, the whole thing," Louis kept 
insisting. "Don't you see? You look 
such a fright . . . Let that hideous hair 
grow out to its natural color, get some 
decent clothes. . . ." 

"That's fine for you to say!" she 
screamed, hating him terribly, utterly 
unaware that she was falling in love 
with him. "You're a man, you don't 
have to worry about bleaching, you 
look the same always, you're no great 
shakes yourself, blast you!" 

HE said other things, during the 
months that followed — while she 
fell in love with him irrevocably, and 
admitted it to herself, and while she 
worked to acquire that thing called 
personal integrity, incalculably valu- 
able. . . . 

"Wash your face," he said, referring 
to the ridiculous make-up she wore. 

"Look," he said. "No, don't pull 
your hand away. I'm being friendly 
. . . there's a period in life when things 
have to come to you. Do I sound like 
a third-rate lecture? Sorry. But 
they do, and you have to sit back for 
them. Wait for them now, Lupino." 

"I can't!" she told him, then. 

But she did. She waited for sixteen 
extremely long, frantic months, while 
nothing happened, nobody telephoned 
her, no one hired her; while her pro- 
fessional standing, her career and her 
ego went to pod; and while not a 
single person, except Louis, believed 
in her at all. 

That was in 1937. Ida Lupino had 
had, altogether, four years of a kind 
of success which was almost big, not 
quite. She was not ever a star. Para- 
mount remembered her during that 
time, which was the trouble; they 
remembered her, as something in the 
past, a personality who had been 
terrific, but wasn't any longer. 

Louis said, "Change over. You're 
phony now. Let your hair grow out. 
I'll stick by you." 

He stuck by her, which was the 
wonderful thing about it all. 

That, and a mild attack of infantile 
paralysis, of all things. She caught 
this particular bug during an epidemic 
current at the time; and it was a poor 
thing of a germ, as germs go, al- 
though even in its debilitated state it 
was busy enough to put Ida to bed 
for three months. She came out of 
the illness with no bad effects and 


with a great new gift, a talent she 
hadn't known she possessed. Delir- 
ium merged into simple fever, which 
became, finally, the colossal boredom 
of the bedridden. She had, of course, 
heard wild and lovely music during 
the delirium; but, with the diminish- 
ing fever, a few majors joined the 
original minors; when, at last, she was 
simply, dully recuperative she could 
remember the melodies. They were 
new, enchanting, even brilliant, she 
decided, as she lay listening to her 
memory singing them. 

The ennui was a good thing, then. 
She knew comparatively little of 
music — good music; but she had to do 
something, which meant (at that mo- 
ment, to the magnificently neurotic 
child she still was) composing. Fortu- 
nately, Ida Lupino was born with a 
rare combination of abilities: Intelli- 
gence, imagination, an ear attuned to 
almost-absolute pitch, the memory of 
an elephant, and discrimination. She 
heard music; she had inherent good 
taste about music; and, forthrightly, 
jumping over the dull long learning 
period, she started creating music. 

To the surprise of everyone, includ- 
ing Louis, it was pretty good. She 
wrote fifty songs during her time out 
from pictures. 

When Paramount signed her again, 
for three pictures a year, people read 
the two-line paragraph about it in 
Variety and with gasping yawns 
turned to the film sections of their 
morning papers. Until, one morning, 
the reviews of "The Light That 
Failed" appeared. "Here," said the 
reviewers happily, "is an actress who 
can imbue an overworked role with 
new spirit, new meaning." 

This development was not im- 
promptu on Ida's part. She was pre- 
pared, when the chance came. Seven 
years before, Director William Well- 
man had promised her the part of 
Bessie in that picture, if he ever made 
it. When she heard that now, finally, 
he had got round to it, Ida went over 
to Paramount (where she had not 
made a picture for months) and raised 
what is technically known as a stink. 
"He promised!" she told them passion- 
ately. They put it up to him, where- 
upon he admitted that he had. He was 
a man of his word, even in Hollywood. 

She couldn't let him down. 

A lull of six months followed that 
role of Bessie, for no logical reason; 
then Warners came to her with a story 
called "They Drive By Night." She 
did not make the other two pictures 
for Paramount. She was too busy be- 
coming a great new star, under a great 
new Warners contract. 

They were very dressed up that 
night; Louis in tails, Ida in a new 
Irene number. Louis had the town car, 
liveried chauffeur and all; reserva- 
tions at the five smartest clubs in town 

had been made earlier by phone; and 
his orchids nestled sumptuously on 
Ida's furs. "Looks, sounds and feels 
like a celebration," Ida commented. 

"You're going to be proposed to," 
he said. 

"What, again?" 

"This time I mean business. You re- 
member I said pride had a lot to do 
with us and marriage? Well, I've got 
'The Duke Of West Point' under my 
belt now. The reviews on it are good 
and it means a new contract, I think. 
And you had to come back. You've 
done that. Can you think of a single 
good reason . . . ?" 

"No," she said, looking at him invit- 
ingly. He accepted the invitation. 

"Tell him to drive us back home," 
she said (Continued on page 105) 

Lupino-Hayward happy- 
marriage picture: They 
look over their grounds 

Joseph Cotten, young, handsome, blond, 
wants to stop wearing Gay-Nineties 
rigs and begin making love to heroinesi 






A strange man gave Rise 
Stevens a gingham rabbit; 
she ended up by taking 
him on for better or worse 


A see-for-yourself proposition as to 

Opera a La Hollywood 

HAVE you ever met an opera 
star face to face, in the broad 
daylight — without the trappings 
and trimmings of a Carmen or Deli- 
lah? If not, let me present to you one 
of America's best — plain everydayish 
Miss Rise Stevens who could be you 
or I or the girl who works on the 
seventeenth floor of any office build- 
ing. There is no folderol non- 
sense about this American young lady 
who happens, through fate's kindness, 
to be occupied in the business of 
singing. And what singing, as you 
jolly well know if you've heard Miss 
Stevens in the delightful picture, "The 
Chocolate Soldier," with Nelson 

Born in New York in a typical av- 
erage American family, Miss Stevens 
attended various grammar schools 
about the city, graduating from the 
New Town High School at Elmhurst, 

photoplay combined with movie mtrbor 


tha O'Driscoll wants to be 
t-free; she evolved a 
ue dating plan to insure it 

Philip Reed"s a bachelor, a "best" 
tennis player, a violinist. He's 
also set in his ways; he admits it 

Evelyn Keyes can't think up a good 
alibi for her actions at night clubs 
so she stays home and reads instead 

f, out of 1 00 candidates for special introduction to you, these five winners were chosen 

New York. At ten she discovered the 
golden flute of magic within her throat 
and made her first public appearance 
singing, over the air, on the Sunday 
morning "Children's Hour." At seven- 
teen she played the mother in the 
school's version of "The Chocolate 
Soldier," little dreaming, as the books 
>ay, that one day she'd be the glorious 
leroine of the same operetta in the 
Uamorous town of Hollywood. 

Following school Rise was engaged 
or the Opera Comique series at the 
ieckscher Theater in New York. Her 
roice stood out like an orchid in a 
landelion bed, so much so that Ma- 
lame Anna Schoen-Rene who heard 
ler, was dumbstruck at the knowl- 
edge that Miss Stevens had never had 
i lesson. Instantly she set about ar- 
anging for her protegee a special 
cholarship at the Juilliard School of 

Then something happened that 
brew three gadgets out of line — Miss 

EBRUARY, 1942 


Stevens, ambitious and poor, turned 
down an offer from the Metropolitan 
Opera Company. She felt it had 
come before she was quite ready for 
it. In 1935 she went abroad for the 
first time, studying at the Mozartteum 
School at Salzburg and trying to ar- 
range for engagements with people 
who didn't want to arrange any such 

In Paris, while she was practising 
one day, a man knocked on her door. 
Questions followed and the music - 
loving neighbor immediately ar- 
ranged for concerts throughout the 
small towns of Czechoslovakia and 
Hungary for Miss Stevens. 

A year later she made her big 
European debut at Prague in the 
opera "Der Rosenkavalier," singing 
the role of Octavia. Walter Szurovy, 
a handsome, blond Hungarian actor, 

who had heard of the young Ameri- 
can who was about to appear as 
"Mignon," went backstage to see 
what all this talk was about. Rise, 
reposing in her draped vehicle, was 
waiting to be hauled onto the stage. 
The actor tweaked her protruding 
bare toe. Rise's amazed face poked 
through the curtains. 

"Here, good luck to you," he said 
in his native tongue and threw into 
her carriage a gingham rabbit. 

Later, of course, they were married. 
They are immensely happy. 

Triumphs in South America fol- 
lowed, with Rise the first North 
American to appear at the famed 
Teatro Colon at Buenos Aires. Eu- 
rope, America, South America again 
hailed the young star and, finally 
and at last, she felt ready to ac- 
cept the Metropolitan offer in New 

M-G-M first heard her lovely voice 
during her San Francisco opera 


Martha O'Driscoll, girl who bowls 
over bowlers with her high score, 
takes in the Trouville Club open- 
ing with young Richard Denning 

engagement on the West Coast. A test 
followed and the delightful "Choc- 
olate Soldier" resulted. 

She has ideas, sound, sane and 
American. She believes, for instance, 
that opera should be given to the peo- 
ple, those who really love it, at prices 
reasonable enough that all may hear 
it. Opera itself should progress as an 
art as other fields of entertainment 
have. The Government, if necessary, 
should get behind it, forming opera 
stock companies across the land. 

She approves the swinging and jazz- 
ing of operatic airs. It's the people's 
way of interpreting good music, she 

She gives orchids to Benny Good- 
man for his knowledge of music and 
feels Mr. Goodman is capable of con- 
ducting a symphony orchestra, so deep 
is his knowledge of music. 

Yes, she's one of us, her fans, this 
brown-eyed, brown-haired young lady 
with the voice. And if we have our 
way, we'll have less nonsense and 
more of Rise Stevens in pictures. 

Gentleman of the Old Sowf 
The oddest thing that ever hap- 
pened to Joe Cotten was Orson Welles. 
The two, complete strangers to each 
other, met when a humorous slip 


made during a serial radio show threw 
the two spectators into hysterics. An 
usher promptly threw the gentlemen 
into the alley and thus was born a 
partnership that has lasted through 
hell and high water — mostly high and 
very hot water. 

Joe had come up from Petersburg, 
Virginia, his home town, to New York 
to be an actor. Walking into Mr. Be- 
lasco's office he asserted that he would 
like very much to become an actor. 

"Very well," Mr. Belasco agreed 
and that was that. Joe was an actor, 
understudying Lynne Overman in 
"Dancing Partner" and Melvyn Doug- 
las in "Tonight Or Never." The lead in 
a Boston stock company followed and 
after a year Joe was back in New 
York for a new play when chance 
threw him into Orson. From then on, 
Orson went his way and Joe went 
Orson's way, following him into his 
W.P.A. Mercury Theater project, Joe 
sometimes playing bits and sometimes 
leads. When Hollywood opened its 
doors to Orson (What an opening!) 
Joe came along playing a leading role 
in "Citizen Kane" and playing it so 
well people kept asking for him, con- 
cerning him and about him. Was he 
young, old, middle-aged, or what? 

The "what" of it is, Joe Cotten is a 
young, handsome, blond, unactorish, 
genuine male who acts only before a 
camera or an audience. He is the best 
friend Orson has in this world. It goes 
without saying Joe is loyal and pa- 
tient. Together he and Welles have 
written a play, "Journey Into Fear," 
in which they will both act for the 
screen. Orson tells me Joe gets the girl 
in their new one. Joe says he doesn't 
want her unless he can get out of 
those darned 1890 clothes he's always 
wearing and lean up against a ship's 
rail with her in the moonlight like all 
the other heroes. 

Joe was the sensation of the stage 
play, "The Philadelphia Story" (next 
to Hepburn, that is), and played in 
the show both before and after his 
"Citizen Kane" venture. 

After the show had completed its 
run, Joe returned to Hollywood to 
play with Merle Oberon in "Lydia," 
as another Gay Nineties beau, and is 
now actively engaged in the Welles 
picture "The Magnificent Ambersons," 
still another gallant of our yesterdays. 

When the ladies see Joe as he really 
is, there will be a new trend toward 
the Cotten fad. Only, alas, he's mar- 
ried, and happily, to a former fashion 
magazine editor. He reads everything 
that's good, including Orson's scripts, 
and plays anything he's given on his 
friend's radio show, if it's only a line. 
He plays a crack game of tennis and 
loves to live in California. Occasion- 
ally he lapses into his Southern dialect 
and then he's really irresistible. Or 
have you found him that already? 

A Peach From Peachtree St. 
Soft brown eyes, natural blonde hair 
worn in longish curls, a quiet voice 
and keen determination belong to Miss 
Evelyn Keyes, the heroine in the un- j 
forgettable picture, "Here Comes Mr. 
Jordan," and the maid in "Ladies In i 
Retirement." With two smash hits 
such as those in a row and "Martin j 
Eden" in the making, to Evelyn be- 
longs the Keyes to the Kingdom of 

Four years ago Evelyn came to j 
Hollywood from her home in Atlanta. 
Georgia, with several hundred dol- 
lars she'd earned dancing in night 
clubs. She was going to crash movies 
and she did. 

Luck was with her almost from 
the start. Through friends she met 
an agent who was willing to take 
the newcomer on the rounds of the 
studios' casting offices. At Para- 
mount, Jeanie MacPherson, writer for 
Cecil B. DeMille, spied the Georgia 
peach and became interested, so much 
so she insisted boss Cecil give her a 
hearing. Impressed with Evelyn's 
quiet manners, perfect diction and 
good looks, Cecil put her under per- 
sonal contract. For two years she did 
small bits and some radio work, in 
which she shone like a diamond. 

A year after she'd made a test for 
Suellen in "Gone With The Wind 
she was given the part and you can 
imagine Atlanta's welcome when Eve- 
lyn returned home for the premiere. 

When her contract with DeMille 
had expired, Evelyn traveled to Co- 
lumbia where she attracted more at- 
tention in the Brian Aherne picture, 
"The Lady In Question," and, in time, 
was rating such sugar-plum roles as 
the "Mr. Jordan" one. 

Her three older sisters and one 
brother and mother haunt the theaters 
in Atlanta when Evelyn's pictures 
come to town. Baby has made good 
with a vengeance. 

In Hollywood, Evelyn, who is un- 
married, shares an apartment with a 
girl friend, plays tennis, reads avidly. 
She reads one classic a month, re- 

Last summer, with free time on 
her hands, she enrolled at U.C.L.A. 
for the contemporary English drama 
and Shakespearian classes. Night 
clubs seldom see her, for Evelyn can t 
find enough alibis to cover up her 
nonindulgence in powerful liquic 
It's either alibi or be thought a snob, 
so Evelyn stays home and reads and 
practices on the piano. 

She thinks Glenn Ford the greatest 
young actor in Hollywood and studies 
his every move in their picture "Mar- 
tin Eden." 

Texas, the Lone Star State, really 
gave her birth. When her father died 
(Evelyn was then a year old) the 
family moved (Continued on page 91) 

photoplay combined with movie mikw'S 

bis is Mr. Normal: Six feet three of average American guy — Fred MacMurray of Paramount's "Take A Letter, Darling" 

W elbmirnc 


BRUARY, 1942 



Interested in getting what you want? Female tears don't 

work any more; this device does. It rated Lucille 

Ball a home, a husband — and happiness 


Picture of a vivid Cuban 
and a spirited blonde settling 
down: Lucille and her husband 
Desi Arnaz in their ranch home 

THE deafening buzz in the RKO 
commissary rose a good octave as 
the girl with the hair like a tossed 
salad of gold paused in the doorway. 

"Hi, Lucille!" a table of wagsters 
hailed her. "Join the comedy club. 
All you have to do is tell the funniest 
thing that ever happened to you!" 

The girl moved over to the group 
with a lithe casualness, her long- 
lashed blue eyes measuring them. 
"Well, the funniest thing was when 
Desi and I were on our honeymoon." 
She grinned suddenly and sat down. 
"He was filling an engagement at a 
night club in Miami when the Presi- 
dential Birthday Balls were taking 
place and Miami asked him to be 
master of ceremonies for theirs with 
me as guest star. The Governor of 
Florida was to be there, the Mayor 
of Miami and a slew of dignitaries. 
I went into a dither memorizing titles 
so I wouldn't muff the event. 

"The big night came. I draped on 
the white furs over my favorite pink 
evening dress with eighteen yards of 
jfluff around the bottom and off we 
iwent with motorcycle police escorts, 
Isirens, spotlights — super premiere 

"Everything was wonderful. Desi 
(was going like a house afire. Then 
he introduced me." 

At this point Lucille jumped up to 
give an imitation of herself. "I ap- 
proached the microphone daintily — 
oh, so daintily — got through my little 
speech of your excellencies and your 

raauABY. 1942 

honors without a miss, then bowed 
my way backwards during the ap- 
plause to my seat. That is, almost 
to my seat. Because just as I got 
there, my heel struck the chair, both 
feet went up in the air — but air, I'm 
telling you — and me and the eighteen 
yards did a reverse spread eagle right 
on the back!" 

To the vast amusement of the com- 
missary Lucille proceeded to fall over 
the chair at the next table and sprawl 
on the floor, smart slacks, polo coat 
and all. 

"What did Desi do?" someone 

"Do?" She scrambled up, snatched 
a fork from the table and held it with 
both hands in front of her to repre- 
sent a microphone. "He just hung 
on to the mike with both hands, prac- 
tically paralyzed with laughter. So 
was the whole auditorium. When he 
finally got his breath, he pointed at 
me where I was still on the floor with 
four men trying to hoist me and said 
helplessly, 'Ladies and gentlemen — 
my wife' — and went off into another 

Lucille dusted herself off vigor- 
ously. "That's the time Ball got a 
bigger laugh than Hope or Bergen 
ever did!" 

There you have the side of Lucille 
Ball that Hollywood sees. But there's 
another girl who walks behind the 
seemingly assured star — a desperately 
shy girl whom Lucille has had to 
thrust aside ruthlessly to make 

First payoff on her new theory 
was breaking into "Roman Scan- 
dals" as a poster-model girl 

She came to Hollywood on a one-film 
chance; stayed to have her hair 
darkened and to make her fortune 


her place in the world. This second 
Self, who really came first in Lucille's 
life, had her roots in a strange and 
unhappy childhood where tears were 
her constant companion, instead of 
the laughter which is now the Ball 
stock in trade. And in her conquest 
of tears lies the solution for many a 
misfit life. 

When Lucille was two years old the 
sudden death of her father, who was 
an electrical engineer in Butte, Mon- 
tana, broke up the Ball home. Her 
health shattered by the blow, Mrs. 
Ball returned with Lucille and her 
baby brother Fred to her people in 
Jamestown, New York. Lucille was 
sent to live with a relative, a woman 

They know who brings home the 
bacon: Sir Thomas of Chatsworth 
and Pinto the Great play up to 
head of the house Desi Arnai 

well along in years whose old-fash- 
ioned background of starched self- 
discipline did not equip her to handle 
the high-tensioned, imaginative 
youngster with whom she found her- 
self sharing her home. The child was 
frowned upon for having her nose 
constantly in a book and upbraided 
when she was caught in the extrava- 
gant play-actings which in her loneli- 
ness took the place of companions. 
Nevertheless, she contrived to create 
two imaginary playmates who were 
her refuge through the years, Bob 
and Sassa Frassa — the latter, a horse, 
if you must know. 

The child's appalling sense of isola- 

tion began to affect her school work. 
Called upon to recite in class, her eyes, 
like teacups of blue china that are too 
full, would brim over and not a word 
could she utter of a lesson she knew 
by heart. Her teacher tried to bridge 
the gap by organizing a birthday party 
for Lucille at school. Word of this got 
to Lucille's guardian who in what she 
meant to be kindness told the young- 
ster of the surprise party. She ended 
by saying flatly, "I thought you'd bet- 
ter know so you would be prepared." 

This precipitated another storm of 
weeping and the two looked at each 
other in despair across their separate 
worlds. Even today Lucille bears the 
scar of this habit when, confronted by 
bafflement, or any of the old frustra- 
tions, she seeks quick escape in tears 
which as quickly pass. 

Release came to the child when Lu- 
cille's mother, who had married again 
in the meantime, sent for her daugh- 
ter now that she could once more offer 
her a happy home. In Jamestown, 
where the Hunts, her mother's 
French-Irish family, have lived so 
long that a street bears their name, 
the tall girl, whose grace was yet only 
a promise, came into her own. Under 
the warm understanding hand of her 
mother, whom she has always wor- 
shipped, Lucille became a leader of 
the younger set. She was jumping 
center of the girls' basketball team. 
Her horseback - riding was good 
enough to win her a spot on a wom- 
an's polo team. She became an ex- 
cellent shot with a gun, drove cars 
and even flew a small private plane, 
this girl who was too timid to recite 
in a classroom. 

After a year at the Chautauqua 
Institute of Music in an effort to fol- 
low in the footsteps of her mother, 
who is an accomplished pianist, Lu- 
cille prevailed upon the family to let 
her attend John Murray Anderson's 
school of dramatics in New York. For 
the years of damned-back childhood 
were crying for expression. But 
somehow the school didn't seem to 
turn the trick. Alone in the biggest 
town in the world, she found that all 
the old fears were returning — fear of 
people, fear that they didn't like her, 
fear of failure. 

Bette Davis was the bright and 
shining student there. Not so Lucille, 
who gazed at her with envy and de- 
spair. Once again fright rose in her 
throat and tears in her eyes as she 
mumbled through diction classes and 
hugged the backdrop whenever she 
was given bits to play in class dramas. 

At length the whole tear psychology 
came to an abrupt climax. Discour- 
aged with her progress at the dramatic 
school, Lucille answered a chorus call 
for Ziegfeld's road show of "Rio Rita" 
and agonized through weeks of the 
show when the stage manager would 

yell at her, "Hey, you, why don't you 
open your mouth and sing?" Terrified, 
she would make her mouth go, pre- 
tending to be singing with the others. 

Finally the day came when she was 
handed her notice. The world went 
black. Crying softly, she walked along 
the street to her hotel room. Would 
it be poison or just a quiet dive out 
the window? As you may have sus- 
pected, it was neither. Sensibly 
enough, she tried to get her job back, 
haunting the stage manager for two 
days without daring to speak to him 
until he finally shouted, "No, you 
can't have your job back! Now will 
you stop following me?" 

Lucille stood on the curb and wept 
some more. Then something occurred 
which has happened in the lives of so 
many of us. A chance meeting, a 
chance word and suddenly a key is 
thrust into our hands which opens the 
door to a totally different life. In this 
instance, a friend of Lucille's hap- 
pened by. He asked what was the 
matter and after she had blurted out 
her story, he said: 

"Don't be that way. Crying does't 
pay off." He scribbled down an ad- 
dress on a card. "Here. If you need a 
job, go down to this company. They'll 
give you a job modelling a coat for 
twenty-five dollars." And he was 

LUCILLE stared at the card. What 
had he said? "Crying doesn't pay 
off." Brother, was he right! Maybe 
she'd better try laughing. At least if 
she laughed at herself first, she could 
beat the rest of the world to the 
punch — maybe save herself the punch. 
And from that moment she began to 
build her armor of comedy. 

Flinging the tears out of her eyes, 
squaring her shoulders and her chin, 
the future female comedy riot re- 
ported at the address on the card. And 
one of America's most famous models 
was born, the girl who was soon to 
become a mannequin in the famous 
Hattie Carnegie salon, the Chester- 
field Girl and finally be chosen as one 
of the famous poster models imported 
by Mr. Goldwyn for the Eddie Cantor 
picture, "Roman Scandals." 

Lucille was anything but agog over 
the prospects of going to Hollywood. 
The wounds of her drama school and 
"Rio Rita" experiences were still too 
fresh. But she was badly in need of 
a rest. Six weeks in the celebrated 
California sunshine with all expenses 
paid there and back — not bad. 

But what with one thing and an- 
other, the "back" didn't take place for 
almost as many years. First, because 
the girl with the sultry mouth and the 
little-girl eyes seemed to have caught 
on luckily to one of the rings of the 
Hollywood merry-go-round. Then. 
when the ring (Cont'd on page 101) 


photoplay combined with movie mirror 


f tfl> ! \ 

owers look at 
Judy Garland Rose all ready 
Valentine Eve celebra- 
tion^ witfi husband Dave. The 
star.of "Babes On Broadway" 
says hello In a conquest dress 
of ioft net with a huge ruffle 
accenting the hemline. She 
sweeps along dramatically in 
a long fitted green evening 
coat with a three-button fast- 
ening; she carries a muff that 
any girl can have if she just 
stitches up some soft net and 
sprinkles it generously with 
white violets, the same flow- 
ers that blossom out in Judy's 
curls. Gala girl, gala mood, 
Want diamond neck- 
e by Gershgorn and Co. 

Photographs by Carpenter 

Rose-colored version of a plain winter suit: Judy takes a 

classic steel-grey wool two-piece model, makes it new and 

different by accenting the tight-fitting jacket with grey 

velveteen collar and cuffs. Soft grey feathers fashion the 

•perky bonnet; a pretty veil adds a bit of feminine witchery 

photoplay combined with movh mibroh 


IRUARY, 1942 

Laurels to Garland for another prize-winning idea of how 
to change an outfit to suit yourself in novel fashion. Add 
huge beaver buttons to the jacket; sling a big beaver 
muff over your arm; top everything off with a wide beaver- 
trimmed hat. Outfit from Saks Fifth Ave., Beverly Hills, Cal. 







From Dave to Mrs. Rose: Valentines every 
day in the year for wearing dresses like 

this. To be specific, it's a Jack Perkins 
black crepe with a.wide accordion-pleated 

hemline, a so-slim belt, bodice and sleeves 

of sheer marquisette. The little skullcap 
arid the Gershaorn diamond clip are standouts 

; photoplay combined with movie mhwoh 


ess in a mood to match the 
V9 you truly" light in Dave's 
for the little star of "Babes 
roadway." Of light blue net, it 
res a glitter-girl hit by silver 
sprinkled from bodice to be- 
ne hipline and by the wide 
> of net from the ruching to 
oor. Judy drapes a length of 
prinkled with rhinestone over 
air, clasps it together at the 
Jer with a gay rhinestone pin 



Cory Grant is earning money, 
big money, in "Arsenic And 
Old Lace." Just how selfish 
is he about his pay check? 

You'll find 

glowing facts 
by "Fearless" 


Hyman Fink 

J I 





Some stars are charity "snobs"; some, secret 
champions. A straight-from-the-shoulder 
talk on Hollywood's rights and wrongs 

8? "FEAKL&S 


Wally Beery dispenses his charity with that "Oh, gosh, 
it's nothing" attitude he's made famous on the screen 

vf EARLY, on the night before 
| Christmas, Wally Beery gathers 
' together all the waifs and strays 
f his studio — and of Hollywood in 
eneral — and takes them to his home 
)r a Christmas party. In numbers 
ley run anywhere from fifty to three 

Some of the guests may be stars of 
le past now sunk to playing extra 
Dies; others may be grips or prop 
oys or out-of-work movie techni- 
ians of any sort; but the majority of 
le crowd is just guys who have no 
omes or close relatives with whom to 
lare this most sentimental of holi- 
ays. Not one there is "important." 
/hat's Wally's only demand — that 
(lose invited be genuinely in need of 
I little Christmas cheer. 
I The party is always terrific. Laugh- 
ibr and horseplay and song and liquid 
jfreshment get mixed up with Gar- 
antuan eats. Just before dawn and 
le final good-bys come, Wally slips 
ireryone a present. Some are large 
nd some are small, but all are in 

iBRUARY, 1942 

relationship to the need of the re- 
ceiver and all are handed out by 
Wally with that "Oh gosh, it's noth- 
ing" attitude that you have seen him 
put across a hundred times on the 
screen. Wally never thinks of it as 
charity. He calls it "Having my gang 
for Christmas Eve." 

Hollywood, of course, gives its 
talents and support to the regular 
"organized" charities. Bob Hope plays 
all benefits for all things and there 
is no screen personality who isn't 
called upon constantly for cash and 
free appearances for this, that and 
the other worthy cause. Excepting 
only Garbo, all stars respond to these 
appeals to some degree, though Hope 
surpasses them all. 

But the truth about the real Holly- 
wood charities is that they are ex- 
actly like everything else in the place 
— entirely personal, highly dramatic, 
frequently fantastic and largely un- 
sung. The truth about them is, too, that 
there are some unpleasant incidents 
connected {Continued on page 81) 

Winner of the charity crown, 
when it comes to giving out 
time and money, is Joan Crawford 

"A tender little anecdote" is 
what "Fearless" calls the account 
of Loretta Young's good-deed day 


Portrait of a Shy 
Glamour Girl 

(Continued from page 41) very little 
candy, and loves to dance at any time 
or place. She never wears girdles. 

She wears flesh-colored lingerie. 

She was born on October 17, 1918, in 
a New York City hospital. She lives in 
an apartment and her mother is a Hay- 
worth of an English acting family that 
first trod the boards in Shakespeare's 
day. She believes that considerable 
money is essential to achieve happiness. 

She loves night clubs and throws her 
clothes over a chair when retiring. Her 
jewelry consists of a bracelet, ring, watch 
and earrings — all made of gold. 

She wears filmy black lace things only 
when posing for publicity pictures. She 
is bored at baseball games. 

Her parents tried desperately to cure 
her of her shyness as a child. She is not 
given to procrastination, likes her steak 
done medium rare, and has to have her 
hair thinned out because it grows so 

She does not like English mustard or 
frog legs. She thinks her husband's 
greatest asset is his enthusiastic interest 
in her career. 

She likes motoring only when she does 
the driving. 

She takes a hot shower and always 
tapers off with cold water. 

RITA HAYWORTH has never been out- 
side the United States except to visit 
or work in Mexico. She is right-handed. 

She takes only orange juice and cof- 
fee for breakfast. 

She likes herself best in red or blue. 

Her husband is of Danish descent, and 
she listens with her right ear at the 
telephone. She hates anything of a bilious 
green color. 

She was married in Yuma, Arizona, by 
a justice of the peace, and nearly every 
morning, when not working, she listens 
to all the family plays on the radio. 

Her father was born in Seville, Spain. 

She has never been on a steamship. 

She never follows a hunch. 

Her favorite aperitif is Dubonnet, she 
visits a beauty parlor once a week, and 
thinks the current pompadour vogue is 

Rita Hayworth has at home the guitar 
she used in "Blood And Sand," which 
neither she nor her husband plays. She 
has never seen a Gene Autry film and 
nurtures a secret desire to vacation some- 
day in Maine. She is bad at spelling 
and worse in arithmetic. 

She is frank, sincere and soft-spoken. 

She hates Mexican food, contract 
bridge and affectation in people who are 
merely lucky. She seldom catches cold. 

Her favorite musician is Vincent 
Gomez, the guitarist, and she is happiest 
when working the hardest. Her kerchiefs 
have fancy borders of bright colors. 

Her mother was born in Washington, 
D. C. She paints her toenails and 
wishes her husband would not drive so 
fast. She would rather rhumba than 
anything else, and her husband is always 
complaining about the way she drives. 

She has never been to Sun Valley, likes 
going out for a smoke between the acts, 
and likes to read poetry aloud to herself. 

She is constantly humming nondescript 
tunes. She calls her husband Eddie and 
the only book she has read more than 
once is something called "The Way of 
the Transgressor." 

She thinks the average man presents 
a much more aesthetic sight on the beach 
than the average woman. She does not 
care for caviar. 






VICTORY CAP: Here's a cute little 
campus captivator if we ever saw one. 
It's knit of wool and embroidered with 
a dashing Victory emblem in perfect 
harmony with the basic design of the 
cap. Tie it 
over your 
curls for win- 
ter sports, 
spectating, or 
just ambling 
back and forth 
to class. $1.25 
to $1.50 at 
leading de- 
stores. Or, R. 
H. Macy's, 
N. Y. 

• • * 
SILKEN FILM: Something new in 
the beautifying field is Toushay — a 
luscious fragrant peach-colored lo- 
tion. You smooth it on before wash- 
ing your undies, or sorting carbon 
paper, or busying yourself with dusty 
household tasks. This lotion acts as 
a silken protection against harshness, 
redness and roughness. Even after 

washing, your 
hands are still 
soft, smooth. 
It's equally 
good for soft- 
ening rough 
elbows and 
chapped knees 
and for sheer 
luxury, try it 
as a body rub. 
Toushay Lo- 
tion, 50c at 
drug stores. 

• • • 
LASSO BOOTS: A stormy weather 
style with all the dash of a romantic 
cowboy. Made of rubber, they're 
cleverly fashioned to look like leather 
range boots. Lasso boots come in dif- 
ferent heel heights so that you can 
wear them over your moccasin or sad- 
dle oxford shoes; walking shoes, or 

dressy high- 
heeled day- 
time shoes. 
They'll slip on 
and off with 
the greatest 
of ease, too. B. 
F. Goodrich 
Lasso Boots 
are $3 at de- 
stores and 
shoe shops. 

She thinks the new colored-hose fad 
is "horrible." 

Her only collecting hobby is saving 
stamps for her mother, she rides horse- 
back very badly, and is frankly thrilled 
at her glamour-girl status. 

She smokes less than a pack of cig- 
arettes a day and enjoys watching a 
bullfight "because of the grace and tech- 
nique involved in it." She takes Vitamin 
B-l tablets regularly. 

Her favorite fountain concoction is a 
chocolate milk shake. She likes a fire- 
place and flowers in her bedroom and 
hopes to alternate her screen work with 
dancing and dramatic roles. 

CHE likes football and auto races. 
^ She has never worn glasses other 
than sunglasses, and considers "Music In 
My Heart" her worst picture. Her par- 
ents never called her by any pet name. 
Her mouth is full and generous, her 
golf is bad and she loves shooting gal- 
leries where she demonstrates a more 
than fair marksmanship. She has never 
been accused of temperament. 

She is a rabid movie fan, occasionally 
goes bicycling, and admires the choreog- 
raphy of Martha Graham and Mary 

Rita Hayworth likes beer, scrubs her 
teeth twice a day and is stubborn about 
admitting a mistake, but she always 
gives in. She is fond of all varieties of 

She has two Doberman pinschers, pre- 
fers biographies and danced with her 
father at the late Agua Caliente Hotel 
where she was discovered by Hollywood. 
She is superstitious about her birth date, 
the seventeenth, because it figured in her 
first contract with Fox Films and her test 
for "Only Angels Have Wings." 

She still has a pair of miniature casta- 
nets which she used at the age of four 
She likes trains, coffee and tea in mod- 
eration, and clings affectionately to two 
hats which she has had for four years 
and which she wears occasionally. 

She has no favorites among male 
screen stars. She likes playing backgam- 
mon and "Indications," and thoroughly 
approves women's wearing slacks for 
shopping or movies. She never fails to 
derive special pleasure out of driving 
along the bridle path on Beverly Hills' 
Sunset Boulevard. 

She played with girls in preference to 
boys when she was a little girl. Her 
favorite records are Strauss waltzes. 

She likes wearing ribbons in her hair, 
smoked salmon and earrings of plain gold 
loops. Her ears are not pierced. 

She gives away most of her wearing 
apparel at the end of a season. Her com- 
plexion is olive, she doesn't care for air 
travel and her philosophy is a modified 

She is adaptable and good-natured. 
She does not go in for roller- or ice- 

She never demurs at a quiet evening 
at home. 

She has never hostessed a large party, 
spends her time between camera setups 
worrying about the next scene, and be- 
lieves that good taste is something one 
is born with. Her favorite salad is chef >. 
She has a habit of using every ash 
tray in the house. 

She is convinced this world is going 
to be a tough place to live in for the 
next fifty years. 

Rita Hayworth hates to make plans. 
She detests going on trips that have 
been carefully planned and she has no 
plans whatsoever regarding her profes- 
sional future, regarding an eventual re- 
tirement, or the possibility of having 

The End. 

photoplay combined with movie mirroi 

s <t 






SoeknG'fo Cupid 


Eugenia Loughlin's engagement to S. Cail 
Borden Tennant of Houston (pictured together 
at right) has stirred far-reaching interest. 
This beautiful Pond's Bride-to-Be will he 
married this winter, after her fiance com- 
pletes his officer's training at Fort Riley. 

Engagement Ring. 
The platinum and 

baguette diamond 
setting was designed 
by her fiance. "I 
guess Rorden and I 
made over a hundred 
sketches for it," 
she says. 


She uses 


See how her SOFT-SMOOTH 

Glamour Care will help y our skin 

1. Eugenia SLATHERS Pond's Cold Cream thick over 
her lovely face and throat. Pats it on briskly with 
quick little upward pats. This softens dirt and old 
make-up. Then she tissues off the cream. "I adore the 
cool, clean feel Pond's gives my face," she says. 

2. Eugenia RINSES with lots more Pond's. Tissues off 
the cream again. 

This second time helps clean off every little smitch 
of soil, leave her fine-textured skin flower-soft. 

You'll love Eugenia's SOFT-SMOOTH Glamour Care 
with Pond's Cold Cream. 

Use it every night — and for daytime clean-ups. 
See your skin look softer, smoother, prettier. 
You'll know then why so many more women and girls 
use Pond's than any other face cream at any price. 
Buy a jar today — at any beauty counter. Five popular- 
priced sizes. The most economical — the lovely big jars. 

Send coupon for 5 POND'S Beauty Aids 


1. Pond's SOFT-SMOOTH 
Glamour Cold Cream 

2. Vanishing Cream 

3. New Dry Skin Cream 

4. New Dreamflower 
Face Powder (6 shades) 

POND'S, Dept.8MM-CB. Clinton, Conn. 
Send me samples of 5 Pond's Beaut) 
Aids listed at left used by lovely en- 
gaged girls and society beauties like Mrs. 
Geraldine Spreckels and Mrs. Krne-t 
du Pont, Jr. Enclosed is 10* to cover 
your distribution expenses, including 

5. Pond's "Lips" (5 shades) postage and packing. 


(Offer good in U. S. only) 

UARY, 1942 


(Continued from page 29) you change?' 

"He said it very charmingly — but that, 
in effect, was what he said. You can 
imagine what I was tempted to say in 
reply. But I suppressed the impulse. It 
was so late by this time that either I 
went out with him or I stayed home by 
myself — which was no way to spend New 
Year's Eve. I changed to something 
simple, which he admired as much as 
he had disliked the other. That made 
everything all right, because I had de- 
signed this one, too. 

"I hadn't been with him a half-hour 
before I decided I liked him. I hadn't 
encountered anyone in Hollywood with 
whom I had been able to talk so freely, 
almost immediately. And he was a 
magnificent dancer. From Ciro's, we 
went on to another club, and we danced 
and danced and danced. I had never 
enjoyed dancing so much before. 

"We didn't get home until nearly dawn. 
And, at the door, when I told Oley what 
a good time I had had, he said, 'I feel 
that this should be a good omen for us — 
our starting the New Year together.' 

"After that, we dated and dated. We 
talked with each other several times a 
day on the telephone. However, both 
of us were reluctant to become too se- 
rious and we dated others despite the 
fact that we knew we were headed for 
each other. We went together two or 
three times a week for three months. 
Then one night we decided to get mar- 
ried. Why wait?" 

THEY were going to fly to Yuma that 
■ night. 

"But at the airport I suddenly thought 
that I'd like my mother at my wedding. 
After all, marriage was such a serious 
step. Besides, it was a miserable night 
for flying. But Oley was surprised at my 
sudden indecision. 

"He didn't try to persuade me. He 
simply said, very grimly, 'I'm glad you've 
shown your true colors. I wouldn't want 
to marry a girl who doesn't know her 
own mind — who isn't sure of her own 
emotions.' After that he drove me home 
in complete silence. 

"For weeks after that, he wouldn't see 
me. Once or twice we bumped into each 
other at parties and he was friendly, but 
nothing more. Once or twice, I've for- 
gotten why, he sent me gardenias. He 
didn't come around himself. 

"I used to call him and tell him, in 
detail, about my crush on So-and-So. 

"My mother kept saying, 'Don't be so 
cruel. Don't keep calling him like this, 
reminding him of you. Make an end of 
the whole thing.' I kept saying to my- 
self, 'If you don't break with him now, 
you never will.' Yet, somehow, I couldn't 
bring myself to make that break. 

"I couldn't understand why. As I 
kept telling Oley, 'You're the only per- 
son I can talk to, but I can never fall in 
love with you.' I didn't realize that I 
was in love with him all the time." 

And how did she explain that blind 

Gene smiled. "All my life, I had 
dreamed that when I fell in love, it 
would be with a divine-looking man — a 
knight in shining armor. And Oley didn't 
exactly fit the description of that dream- 
man. Something else that confused me 
was that Mother liked this other boy — I 
won't mention his name — who was ter- 
ribly good-looking. She felt that perhaps 
he was the one for me. I tried to see 
him through her eyes. I almost con- 
vinced myself that I was falling in love 
with him. When he asked me to marry 
him, I said I'd give my answer after I 


This Is How It Really Happened 

went to New York and talked with my 

"Then, suddenly, it came over me, 'Oh, 
no, this isn't it at all. This isn't love. 
I realized suddenly that my mother and I 
were two entirely different people. That 
the boy who could have made her happy, 
if she had been in my place, wasn't the 
one for me. I knew that before I went 
to New York to talk with my father. I 
broke with the boy before I even left. 

"When I saw my father, I told him, 'All 
this stuff in the papers about my coming 
East to ask your permission to marry is 
strictly bunk. I'm not even in love.' He 
asked, 'Well, then, why did you come 
East?' I said, 'I simply had to get away — 
to try to get a perspective on myself, to 
try to decide what I want from life. I'm 
all confused.' 

"While I was in New York, I wrote 
Oley a couple of letters. He didn't an- 
swer them. Still, when I got back to 
Hollywood, I swallowed my pride and 
called him and asked him to take me 
dancing. He said he was busy. 

"THEN Pat Morison gave a cocktail 

' party. I was invited and I happened 
to know that Oley was invited, too. I 
rigged myself all up, having visions of 
our getting together at the party and, 
afterward, spending the evening together 
somewhere, dancing. And we did get 
together at the party. Only he said, 'I'm 
sorry we can't go dancing tonight. I 
have a date I can't break. But I'll take 
you to dinner.' 

"He couldn't have done anything that 
would have made me more determined 
to win back his interest. I've found out 
since that he was interested all along. 
But he knew how to handle me." 

Gene punctuated that last sentence 
with another smile. 

"Then I developed that horrible allergy 
thing. My eyes were swollen, and my 

Initially responsible for the Tierney- 
Cassini marriage are Connie Moore 
and agent-husband Johnny Maschio. It 
was at their house Gene and Oley met 

face was swollen, and they couldn't 
seem to find out what was wrong with 
me. I think the whole trouble was 
nerves. I was still new to Hollywood — 
which was completely different from any 
other world I had ever known. I had 
always led a more or less sheltered, in- 
conspicuous life. And, until then, I had 
been more or less inconspicuous in 
Hollywood, just another hopeful begin- 

"Suddenly, I was pushed into the 
title role of a big Technicolor picture, 
pitted against people who were expe- 
rienced. My nerves simply went hay- 
wire under the strain. 

"You remember the rumors — that I 
might never look normal again, never 
make another picture. Only a very few 
people subjected themselves to the ordeal 
of coming to the hospital to see me. Oley 
was one of them. No one else came as 
often as he did. And he was so sweet, 
every time he did come. I found myself 
thinking, 'He must love me, to want to 
see me, even like this.' 

"Mother said, 'He's the only person who 
calms you down.' I kept thinking about 
that, too. Thinking: 'I must love him — 
for him to have an effect on me that no 
one else has.' Thinking: 'When he's with 
me, I don't seem to need anyone else. 
The two of us are complete.' 

"Suddenly, the allergy thing subsided. 
I was able to go back to work. Only 
I had to have vitamin shots to keep 
going. Oley would drive me to the 
doctor. We saw each other every day. 
Finally, we reached the point where we 
became engaged. We planned to marry 
on June twenty-eighth. 

"I JNTIL then, my family had liked Oley. 
^ And even then they didn't exactly 
dislike him. 'Of course, you can marry 
him,' my father said, 'only I expect him 
to become a member of the Belle-Tier 
Corporation.' He sent out a contract for 
Oley to sign." 

When Gene went on the stage, her 
father and mother (whose name is Belle) 
formed the Belle-Tier Corporation, for 
the purpose of supervising the career of 
their under-age daughter, serving as her 
agents and protecting her earnings. 

"Oley took one look at the contract, 
and said, 'Darling, I love you very much 
— but not enough to sign this." He would 
be signing away his right as a husband 
to have some say about where his wife 
should live. If the head officers of the 
corporation — namely, my father and 
mother — decided I should live in New 
York and work on the stage, he would be 
powerless to intervene. 

"To prove that he had no interest in 
my earnings, past, present or future, he 
had Bentley Ryan, a friend of mine and 
my lawyer, draw up a legal document, 
which he signed, not only renouncing all 
rights to handle my money, but renounc- 
ing all community property rights in case 
of divorce. (Heaven forbid!) 

"But that gesture of Oley's wasn't 
enough for my family. My brother wrote 
me: 'If you marry a Count — any Count — 
I'll never speak to you again.' My 
father made it plain that he wouldn't 
give his consent to my marriage unless 
Oley signed that contract. 

"I had been having this battle with my 
nerves, my career was like this" — she 
made a wobbling motion with her hands 
— "and now even my own family was 
becoming difficult. Nothing was certain 
except that Oley and I were in love. To 
make that fact complete, we flew to 
Yuma and were married June first." 
{Continued on page 72) 

photoplay combined with movie mirrof 

How one Tragic Mistake can add 
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I BRUARY, 1942 

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If you live in Car 

ada, write Lady Esther, Toronto, Ont. 


(Continued from page 70) Immediately 
after the wedding (by a justice of the 
peace), they phoned Gene's father. 

"Oley told him that he had signed away 
all rights to my money. My father said, 
'My blessings, my son." Afterward, how- 
ever, he issued that famous statement to 
the Press: 'Gene is just a misguided 
child. She has been carried away by this 
suave man of the world.' And the sob 
stories began. 

"The most spiteful one was written by 
a woman I had never even seen, who 
made it sound as if she knew me inti- 
mately. She wondered how I could have 
married a man named Oleg, she ques- 
tioned his background and she intimated 
that this was probably only the first of 
several marriages for me. I couldn't rest 
until I had looked up that woman. 
People warned me against doing it — they 
said, 'She'll only write worse things' — 
but I wanted to know that she knew 
exactly what I thought of her ... I'd 
love to put her background against my 

"/^\LEY is no phony. He didn't give 
^ himself the title of 'Count.' He 
was born with it — a descendant of sev- 
eral generations of Polish and Ukranian 
nobility. His grandfather, Count Arthur 
Cassini, was Russian Ambassador to the 
United States. (Port Arthur, Texas, was 
named in his honor.) 

"Oley" was born Count Oleg Loiewski 
Cassini de Capizucchi, in Paris, where his 
father was then in the diplomatic service 
of Imperial Russia. When Russia went 
Red. the Cassinis — being White Russians 
— found themselves a family without a 
country. Switzerland gave them haven, 
in Montreux. There Oleg's mother 
opened a small dress shop. The venture 
prospered and they moved to Italy, 
where opportunity seemed to beckon. 

Growing up, Oleg showed artistic tal- 
ent. When he was twenty, his mother 
sent him to Paris to study art. His 
teacher said, "You have talent, but you 
won't be a great artist until you have a 
soul — ten or fifteen years from now." 
Oleg couldn't afford to wait that long. 
He decided he had better commercialize 
his talent. He went back to Italy, started 
sketching dress designs for his mother's 
salon. Since the customers liked his 
sketches, his mother sent him back to 
Paris to study with Patou, the famous 
French designer. 

The family came to America five years 
ago, to escape the European trend of 
things. Oleg connected in New York 
with Designer Jo Copeland, then came 
on to Hollywood, where, for a year and 
a half, he worked for Paramount. Now 
he's working for himself — his first assign- 
ment, just completed, being the creation 
of the gowns in "Shanghai Gesture," 
starring Gene Tierney. And he has done 
all right by his bride. In fact, he has 
done sensationally. 

So sensationally that Twentieth Cen- 
tury-Fox has signed him to create the 
gowns for Ginger Rogers, Rita Hay- 
worth and their feminine co-stars in 
the all-star "Tales of Manhattan." Three 
other big assignments are to follow. 

People have been commenting lately 
that Gene has suddenly "grown up," be- 
come a poised young sophisticate. 

Gene said, "I can thank Oley for that. 
I didn't know how to dress the part 
until he came into my life. And, for 
that matter, I didn't know how to act the 
part. It's one thing to get all rigged up, 
and another thing to carry it off. I gave 
away all my dresses last week. From 
now on, everything I wear off the screen 
will be designed by my husband. And 
I want people to know it." 

Gene added, "Oley has been good for 


U ( >to-the-minute data on John Boles: 
He retired voluntarily from films in 
'38; won U.S. and South American fame 
singing; now returns to the screen 
in Monogram's "Road To Happiness" 

me in so many ways. He has given me 
confidence that I never had before. I 
feel as if I am just beginning to live. My 
life is complete at last." 

And she wasn't thinking of the sen- 
sational movie breaks she has had since 
her marriage — in "Sundown," "Shanghai 
Gesture" and now "Son Of Fury" (op- 
posite Tyrone Power). 

She commented, smiling, "Sometimes I 
think he knows me better than I know 
myself. The other day, for example, I 
did something he didn't like — but he 
found a marvelous way to tell me so. 
'Don't ever do that again, Gene,' he said. 
'You're such a wonderful person in my 
mind — an ideal. I don't want anything 
to shatter that. I don't want to believe 
that the girl of my ideal could do a 
thing like that.' If anything could per- 
suade me of the error of my ways, that 
could . . . And I'm getting pretty under- 
standing myself. Last Sunday, for exam- 
ple, he was burning some things out in 
the back yard and the fire got a little 
out of control. He was trying to beat it 
out with a stick. I rushed out with a 
pan of water — and that put it out. But 
I didn't say, 'Why didn't you think of 
that?' He was crestfallen enough that 
he hadn't, without my rubbing it in. 
And I know he appreciated my realizing 

THE newly weds have bought a small 
' New England Colonial house, on two 
acres of wooded ground, in Hidden Val- 
ley, an offshoot of Coldwater Canyon. 

"It was a find of finds," Gene said. 
"We got it for only $10,000. We bought 
it jointly. We're furnishing it on the 
same cooperative basis. He's buying the 
essential things, like stoves and refrig- 
erators, and I'll supply the Early Amer- 
ican touches." 

Speaking of homes, there had recently 
been a to-do in the newspapers about 
the possible eviction of Gene's father 
and mother from their home at Westport, 
Connecticut, because of a foreclosed 

mortgage. The mortgage-holder had been 
awarded a judgment of $5004 against her 
parents, "who told the court they were 
attempting to refinance the debt." As if to 
explain the Tierneys' difficulties, the 
newspapers had taken pains to point out 
that Gene's parents not only had opposed 
her marriage but also had been unsuc- 
cessful in seeking to enforce a contract 
requiring the payment of twenty-five 
per cent of her earnings to the family 
corporation formed to handle her affairs. 
All this had made Gene sound like a 
daughter who was bitterly disinterested 
in what happened to her parents — or 
their home. 

Gene's eyes flashed green fire again, 
when she was reminded of that insinua- 
tion in the public prints. 

"It's true that I haven't seen my father 
since my marriage, but that hasn't been 
my fault," she said. "I've tried repeat- 
edly to have him come to Hollywood and 
meet my husband — pending the time 
when our work would allow Oley and 
me to go East. He has never met Oley, 
you know. 

"It was news to me, as much as it 
was to the newspapers, that my father 
and mother were in danger of losing 
their home. And there was only one 
reason why I didn't immediatelv satisfy 
that $5,000 judgment myself. I didn't have 
that much money in the bank. 

"That's probably hard for people to 
believe. But I've been getting my pay 
checks, personally, only since last June — 
when I signed this new contract. Since 
then I've made a substantial payment on 
our own house along with Oley, and 
contracted for the remodeling of that 
house and bought a fur coat. All of 
which has kept me from saving very 

"Before last June all my earnings went 
to the family corporation. My parents 
received a generous percentage of every- 
thing I earned. The remainder, over and 
above my living expenses, was to be 
kept for me until I was of age. When 
I heard of my parents' difficulties, I was 
stunned. I told my father to take enough 
of my funds to save the house. He didn't 
do so — I don't know why. I'm com- 
pletely baffled by the whole business. I 
can't understand why my parents should 
be in such a position and I can't explain 
why my father didn't take my sugges- 
tion — unless it was a matter of pride 
with him. A matter of turning over my 
funds to me intact when I'm of age. 

"I'll be of age after November nine- 
teenth. If my funds are turned over to 
me then and their house hasn't actually 
been taken over yet, I'll pay off the 
mortgage in its entirety." 

But she still hadn't told why she wa> 
so positive her marriage was going to 

"I'll tell you why," she said. "I can 
compare our marriage to our house. Be- 
fore we found this place, I looked at a 
hundred houses. I liked some thing> 
about one house and other things abou: 
another house — but I still kept on look- 
ing, because I didn't feel that I'd yet 
found exactly the right house, the one I 
could live in for keeps. When I found 
this house, I knew that it was the one. I 
didn't have to look any farther. 

"Before I came to know Oley, I looked 
over other men. I liked some things 
about one, and other things about an- 
other, and I'd rave about them — but I 
didn't make a final choice of any of them, 
because I didn't feel that I'd found the 
one I could live with for keeps. But when 
I came to know Oley, I had that same 
sure feeling that I didn't have to look 
any farther. I could be completely 
happy with him." 

The End. 

photoplay combined with movie mirror 

Hollywood— Beware 
in 1942! 

(.Continued jrom page 31) 

Carole Lombard: ". . . her chart warns 
of a health condition." All the world 
knows that Carole has not been well this 
year and she still has a trying period 
to go through; nerves, illnesses difficult 
to diagnose correctly and emotional dis- 

Ginger Rogers: "1941 is a good career 
year for Ginger Rogers. Ginger is a very 
i talented young lady and can rise to any 
heights she desires. . . ." 

She got the Academy Award for her 
•work in "Kitty Foyle." Not bad, eh! 

Cory Grant: "Money, prestige and ro- 
mance." It looks like a double dose of 
everything for Cary. He has earned 
- money and prestige on his own account. 
■ His romance with Barbara Hutton has 
not detracted from his prestige and 
money surely is in the pockets of each 
of them. 

Olivia de Havilland: "A year full of 
activity for Olivia . . . honors . . . awards 
. . . and financial success." 

In "The Strawberry Blonde" she was a 
wonderful surprise even to her severest 
critics and the sincerity and simplicity 
of her performance as the American 
schoolteacher in "Hold Back The Dawn" 
must surely bring her honor and finan- 
cial success. 

Bette Davis: "Her stars point to mar- 
riage during 1941." 

I don't have to go into detail about 
that prediction. It happened New Year's 
Eve. That's close enough to suit me. 

Errol Flynn: "Beware, Errol, look out 
for trouble through the opposite sex." 

We won't mention any names, but it 
seems there was a famous cafe battle and 
Errol got stabbed by a lady with a fork. 

". . . accidents, blackmail and di- 
vorce. . . ." 

Lili Damita, his wife, has just sued 
him for divorce. 

"Especially be on your guard, Errol, 
from July, 1941, to January, 1942." 

As this goes to press there is still 
time for Errol to get in a jam so I hope 
he stays on his guard. 

Picture that proves a prophecy 
made on the following page: Hedy 
Lamarr has a dancing date with 
Reginald Gardiner at the Mocambo 

•'EBRUAHY, 1942 


'See that woman? — I'd 

swear she buys a different 
laundry soap every week. 

"Know how she buys? — She comes in and asks me, 
'Which one's having a sale today?' So I tell her and out 
she goes, pleased as Punch, with a bagful of 
bargains. . . . And next week she's back again 
— buying somebody else's soap." 

"Some day she'll try Fels-Naptha Soap 
and she'll be done with all that, ggj^ 
Instead of saving pennies here, » t IS" NAP T I 
she'll save dollars at home 
you wait and see." 


Ooesrit this open 
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3 out of every 4 voted 




Hint to pretties: 
Wendy Barrie, run- 
ning partner of 
George Sanders in 
"The Gay Falcon," 
ties a brico scarf un- 
der her chin, smiles 
for the camera, 
gives her public a 
smart idea of what a 
scarf does for a girl 

Pronounce Modess to rhyme with "Oh Yes" 

"As for Errol's career — unless he jeop- 
ardizes it by his Martian (meaning under 
the influence of Mars) activities, the year 
brings him additional popularity." 

"They Died With Their Boots On" 
promises to be his biggest success since 
"Captain Blood." We'll be "back in a 
flash with a flash" about Errol's doings 
for 1942. 

Ann Sheridan: "1941 brings bewilder- 
ing waves of good fortune but it also 
brings unexpected waves of adversity. 
However, the two seem to balance." 

For a time it looked as though Ann's 
differences with her studio might spell 
the end of her brief career (adversity). 

"August 1 begins a new and exciting 
cycle for her professionally." 

Her differences settled, it looks as 
though Ann is now 'well on her way to 
being established. Her romantic life? 
Wait a few pages. 

Deanno Durbin: ". . . Remember that 
whatever happens, 1944 and 1945 see you 
achieve far greater success than you 
have had so far. You have excellent 
judgment; be sure you use it." 

Very good advice for Deanna to re- 
member now, in the light of her trouble 
with her studio and the fact that Uni- 
versal holds her contract until 1943. 

Hedy Lomarr: "November 9, 1941, be- 
gins a new cycle favorable for publicity 
and this period seems to bring her into 
very beneficial contact with writers or 

By the time you read this you will 
know whether this prediction is accurate 
or not. It is too early for me to tell. 

"As for love — January 1 to 4 sees the 
beginning of a new love affair or the 
revival of an old one." 

There are and have been many re- 
ports about Hedy and Reginald Gardiner 
up to the time of her marriage to Gene 
Markey and after her divorce from him. 
Also she seems to play quite a game of 
hide-and-seek with John Howard and 
last January she resumed her friendship 
with both of these men according to 
the gossip columns and still sees them 
both if rumor is to be trusted. 

AND so with Hedy we leave 1941 and 
spread out the astrological charts to 
read what 1942 holds for the Hollywood 

Stirling Hayden: Since there has been 
so much speculation about Stirling Hay- 
den, let's start off with a look at his chart. 
Mars, planet of war and energy, is in 


Stirling's fifth house, house of the movies, 
and in Leo, sign of the actor, but it is 
opposed to Venus, planet of love, and 
Uranus, the planet that accounts for sud- 
den and unexpected events and erratic 
behavior. Therefore, when Stirling an- 
nounced that he was getting out of the 
movies, he meant just that. Strange as 
it may seem, this good-looking boy 
doesn't give a hang about the plaudits 
of the public; in fact, he shrinks from 
publicity and exploitation. It is my guess 
that all the publicity about him and 
Madeleine Carroll makes him even more 
determined to get out of the public eye. 

Stirling is best fitted for work behind 
the scenes, whether it be in the movies 
or with the Government. During 1942 
Stirling appears to be doing work in 
seclusion. It could very well be in the 
Intelligence Department, with a branch 
of radio, or it may be some secret mis- 
sion. He has a keen inventive mind and 
someday money will come to him through 
invention or creative work. His chart 
tells us that he is fitted to give rather 
than to take orders. 

Now let's see about the Madeleine Car- 
roll angle. If the birth date I have is 
correct, Stirling began to get restless and 
dissatisfied along in May, 1941. In July 
romance and love ran riot causing a ter- 
rific emotional conflict. As for love in 
1942, August or early September brings 
him either a renewal of the love of July. 
1941, or a new love and with it marriage. 

Kathryn Grayson: She took matters 
into her own hands and pranced off to 
marry the man of her choice with com- 
plete disregard for the powers that be 
or her indebtedness to them. Now she 
must watch out this year for conflict 
and trouble between her and those in 
authority and think well before she acts 
She can rise to great heights and will re- 
tain her popularity with the public; but 
she should remember that the public 
must see and hear her in order to appre- 
ciate her and that it is the people behind 
the scenes who can block or open up the 
road to success. 

During 1942, Kathryn, your luck and 
your stars won't be pulling for you quite 
so strongly as they were in 1941, so use 
that alert brain of yours to control you: 
impulsive nature and heed the advice of 
your elders. 

Robert Stack: I don't know anything 
about Robert Stack except an astrolog- 
ical chart on a piece of white paper, so 
if I stick my neck out and into your 

photoplay combined tuith movie mirror 

private affairs, Robert, and cause you 
any trouble, please forgive me. 

Robert's chart shows him to be tem- 
peramental, independent and much in- 
clined to act first and think afterward. 
He has a keen mind and a good memory 
and his popularity will increase as he 
grows older. He should be given serious 
parts. His chart shows a stormy love 
life and plenty of it. 

Dynamic aspects are in his chart for 
1942 which may interrupt his career in 
September or October. 

Joan Crawford: It looks as though 
Joan Crawford has gone in for consid- 
erable seclusion this past year and I have 
an idea that she is going to spring a few 
surprises come 1942. 

July and August mark a favorable 
period for a new venture. She appears 
to break away from former activities and 
to seek a new vehicle for self-expression. 
This will be a particularly fine time 
for her to sign a radio contract or begin 
a radio program, concert work, perhaps 
even opera. Don't let anyone fool you 
about Joan's voice. She really has one. 
Venus in Taurus proves it. 

Joan is as full of surprises as a church 
fair grab bag and she may pull out a 
love affair or marriage which has thus 
far escaped the press. Around February 
20 romance rears its beautiful head again 
and between February and early summer 
there is a strong indication that she 
will announce her marriage. 

Great happiness comes to Joan through 

George Sanders: He has a remarkable 
chart and at last he is really coming into 
his own in spite of those who have thus 
far kept him back. He has originality, 
force, magnetism, sex appeal and brains 
and could handle a three-way contract — 
writing, acting and directing. Instead of 
heavies and menaces he should play 
swashbuckling romantics or sophisti- 
cated romantic parts. 

The next two years for George should 
be super. His finances appear to boom 
and though I seldom advise it, in his 
case, after July, 1942, he can even afford 
to take financial risks. 

If unmarried now, George cannot 
escape much longer if the woman with 
whom he is in love is free; and sure as 
fate he is in love according to every 
indication in his chart. For George San- 
ders from now into the fall of '42 will 
be a very romantic period. 

Judy Garland: The new year brings 
even more success to her and anything 
she starts the last week in May will 
bring her happiness and good luck. 

However, she must be on her guard 
against people who may try to double- 
cross her. Judy is idealistic and loyal to 
a fault and this year she may suffer loss 
through the opposite sex. This can refer 
to business, friendship or love. So use 
caution, Judy, in every decision you 
make during 1942. 

There is a bird looming in the dis- 
tance and it looks as though the stork 
may circle over the Garland -Rose home 
in 1942 or early 1943. 

Hedy Lamarr: From February 1 to 
March 6, Hedy must be careful of acci- 
dents, especially at the studio or on loca- 
tion. After June long journeys are 
favored for her, particularly a sea voy- 
age. She may go to distant lands to 
make a picture, as an entertainer or on 
a friendly mission. 

The stars indicate marriage or a thrill- 
ing love affair in April or May and 
money comes to her through marriage, 
inheritance, partnership or business. 

Errol Flynn: He has to beware of the 
opposite sex; even more so than in 1941. 
They spell bad news for you this year, 
Errol, so if you haven't any caution of 


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your own, hire ten people if necessary 
to protect you. From the middle of Au- 
gust through September you might in- 
crease the ten to twenty and keep them 
around you for the balance of the year. 

From the end of May well into June 
Errol is favored in his career and his 
box-office appeal, for he has Jupiter 
conjuncting his sun, an aspect which 
occurs once every twelve years. 

Myrna Loy: The month of May brings 
a period of emotional strain to Myrna 
Loy and she will probably have to keep 
her chin up just as she has for the past 
year and a half. The middle of June, 
however, should put an end to Myrna's 
domestic troubles. 

June brings her unexpected benefits 
both in career and finances and this will 
be a wise time to sign contracts, papers 
or to enter into a profitable partnership. 

Myrna has managed to triumph over 
her adverse aspects so far and if she 
can carry on until June, her stars will 
bring her her heart's desire. 

Olivia de Havilland: She's another girl 
who is coming under wonderful aspects 
around June 10 for the remainder of 
the year. Olivia's stars point to an award 
either for 1942 or possibly in 1943 for 
work begun this year. Now, Olivia scales 
the heights. April 1 she comes under 
Jupiterian vibrations which increase her 
magnetism and give her a much stronger 
appeal for men than she has had pre- 

During March and April, Olivia, guard 
against accidents and hasty decisions and 
don't get temperamental. 

Alice Faye: In February and March. 
Alice Faye meets responsibilities which 
cannot be sidestepped. 

She must take care of her health and 
w r atch her finances, for this is a period 
which, if not properly handled, can have 
a far-reaching affect upon her career and 
her life. 

From May until the middle of June. 
Alice, guard against accidents from fire. 
electricity and water. Guard your health 
and be more conservative in every way. 

August 15 marks a good period for 
Alice to resume her career if she heeds 
all the foregoing advice. 

Shirley Temple: 1942 appears to release 
Shirley from the Mars tension which has 
been obstructing her career for such a 
long time. After her birthday in April 
she comes under better aspects, but until 
1943, radio, rather than motion pictures, 
should be her medium. 

Deanna Durbin: Even though her last 
picture was a wow, she had better not 
try to force any issues until July. 1943. 
For no matter how far out she sticks 
that pretty, well-rounded chin of hers 
she can't win. Lie low, Deanna, go along 
amicably until next year when the lucky 
stars that put you where you are today 
favor you again. 

Bette Davis: You and I will all be 
happy to realize that Bette's marriage 
looks secure for 1942. She is under 
splendid vibrations from Uranus this 
year and her career continues to boom. 
During the latter part of February and 
early in March Bette must look out for 
accidents and disagreements, for Mars 
makes her hotheaded and hard to get 
along with. 

Nothing but a transit of Mars, the 
warrior, Bette, so count one thousand 
every time you're tempted to get riled. 

NOW let's gaze into the future year 
for some of Hollywood's famous 

Stanwyck and Taylor: The charts of 
these two blend as though the match had 
been made in heaven instead of in Holly- 
wood. This is one movie marriage that 
shows every indication of enduring. Bob 

photoplay combined with movie mirror 

is practical and his practical side serves 
to stabilize Barbara's high-strung, emo- 
tional side. He is also romantic and 
sympathetic. Every woman knows how 
necessary this is to make marriage last. 

In comparing their charts I find not 
only congeniality and harmony but com- 
plete understanding and as if this were 
not enough the 1942 planets shower them 
with wealth and success. 

During 1942 Bob's career moves along 
at the same even pace and he maintains 
the prestige he has earned. 

Barbara is coming under marvelous 
vibrations. I believe she will win some 
sort of an award this or next year. 

This year the stars make up for some 
of the dirty tricks they have played on 
her in the past and bring her whatever 
she most desires, whether it is recog- 
nition for her work, a long-cherished 
secret dream, or possibly a child, her 
own or an adopted one. 

Gable and Lombard: Last year I told 
you all about Mr. and Mrs. Clark Gable 
and how well suited they are in every 
way. They still are — but I want to warn 
Clark that due to the transiting Jupiter 
in opposition to his radix Jupiter, Saturn 
and Venus, he will be under bad aspects. 
He must be as conventional as a country 
schoolmarm during all of 1942 and espe- 
cially during August. The heretofore 
tolerant public will scowl and turn 
thumbs down at Clark's slightest devia- 
tion from the path of convention. 

August and part of September are bad 
for Carole also. Her chart indicates some 
sort of whispering campaign affecting her 
home started early and which, under the 
bad aspects of August and September, 
can turn into loud talk and black head- 
lines if not checked in its infancy. 
These aspects affect only Carole's home. 
Her career prospers and brings her new 
acclaim and her health, which has not 
been too robust, should improve after 

Clark, be careful. You can lick your 
stars, you know. 

Cory Grant and Barbara Hutton: The 
charts of these two indicate that they 
could have been married last May. Any- 
how, I'll wager that they came close to 
it. If they were not married then, I 
think they will marry between June 
and January, 1943. 

Ginger Rogers and George Mont- 
gomery: Harmony in their charts, but 
marriage would not work out. Ginger's 
true love is her career and any and every 
man she marries will have to play sec- 
ond fiddle. It isn't any secret that there 
comes a day when any man resents this 
no matter how much he loves his wife. 

Ginger's career is safe and sound, much 
more so than her love life. 

George Montgomery definitely should 
not marry this year. Nineteen-forty-two 
brings him honor and recognition and 
money, but no lasting happiness if he 
flouts the warnings of his stars and weds. 
Ann Sheridon and George Brent: Both 

Flash From Miss Garbo! 

Believe it or not, we have suc- 
ceeded in gathering some highly 
confidential and most revealing 
glimpses of this lady of silence 
whom Bette Davis calls the 
greatest actress in pictures. 
Watch for the March issue. 

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of them have their Sun in Pisces. It 
looks like a true love affair (no matter 
what the recent gossip is) and it would 
last anywhere but in Hollywood. Ac- 
cording to their horoscopes it should 
even outsmart Hollywood. Whether the 
love affair lasts or not there should 
always be a deep friendship. 

June 10 to July 15 favors romance for 
both and can very well lead them to 
the altar or a justice of the peace, despite 
their present reported break. Both are 
also under good career aspects during 
these months. 

Ann must be careful of travel the 
latter part of February and in March 
and she must be cautious. Don't sign 
any papers, Ann, without the advice of 
at least two good lawyers. 

George's health should improve after 
his birthday in March. 

Careful of finances in June, George, 
money seems to go out faster than it 
comes in. Around the middle of June 
new ventures are very successful for 
you, perhaps a picture, or marriage or 

Betty Grable and George Raft:I could 
not get George Raft's authentic birth 
year and I certainly would like to have 
it, for I would like to untangle him for 
myself and his public and find out just 
what is his fatal charm for women. 

According to the chart I drew up from 
the date sent me, his career is favored if 
he doesn't gum it up himseli. Someone 
will try to separate George and his money 
and may succeed in doing so. Inwardly 
he will feel dissatisfied with everything 
and be inclined to tell the world and 
his employers about it. 

Take off those dark glasses of gloom. 
George Raft, and let the sun shine in. 
This year Saturn makes you gloomy: 
Uranus upsets your apple cart and the 
strangest things may happen; and Mars 
makes you sore at the whole cockeyed 
world; but Jupiter will bring you good 
luck if you will forget the other planets 
and concentrate on him. Keep your 
mouth shut and your eyes and ears open. 

Betty Grable's chart shows strong 
dominance of an older person, heavy 
expenses and greater responsibility than 
one of her age should carry. 

She is very magnetic and has consid- 
erable dramatic ability. Thus far her 
gorgeous figure has blinded her follow- 
ing to her talent. 

The latter half of 1942 brings her near 
the top in her profession. December 18. 
1941, indicates the breaking up of old 
conditions and begins a new cycle which 
brings Betty happiness and benefit. 

She will be under excellent vibrations 
for marriage, for she has Jupiter Ln her 
house of marriage this year. I doubt if 
George Raft is the man because Bett> ''s 
stars point to a new romance. 

That's all, and remember this, all of 
you who have read these words and may 
be wondering about your own year ahead. 
you can control your destiny by heeding 
the advice and warning of your stars. 
When Saturn, the red light, flashes, stop! 
Stop dead and wait for the go sign from 
Jupiter. When Mars, the warrior, warns 
you not to scrap and argue, stay away 
from people until the Mars transit moves 
on. It only stays in one sign two months, 

Just don't try to butt your head against 
the fence of the stars. Wait until the 
proper time and the gate will open of its 
own accord. 

Good luck to all of vou for 1942. 


To the readers of Photoplay-Movie 
Mirror: Your solar chart can be obtainec 
by sending your birth date and one dollar 
to Matilda Trotter, Bradford Woods. 

photoplay combined with movie mirrof 


(Continued jrom page 38) Girl," he 
worked as a sort of apprentice to each 
of the production heads — learning about 
picture-making from start to finish. His 
"director fund"' is a sum set aside toward 
a day when he will renounce acting and 
try to get himself a director's job. 

"Maybe that won't be easy to do, but 
if it isn't, I'll have my 'fund' to live on 
until I can get started," he explained. 

Eddie said that another ten per cent 
of his earnings goes into various forms 
of life insurance, both endowment poli- 
cies and ordinary life policies that can 
be converted into annuities. 

"I want to know my wife will be taken 
care of if anything happens to me," he 
said. "Seems to me too many fellows 
don't care what happens to their families 
after they themselves are dead." 

The remaining ten per cent of Eddie's 
salary saved goes into a fund he and 
his wife call their "house fund." With 
this they are going to build or buy a 
house, but not until they have enough 
10 make a good substantial cash payment. 

Little June ("Half Pint" they call her 
at Paramount) Preisser also saves twen- 
ty-five per cent of her earnings, she 
declared proudly. (This is in addition to 
the fifty per cent automatically im- 
pounded until she is twenty-one by the 
State of California under the "Coogan 

"Besides," she added, "a girl likes to 
be independent even though she does 
finally find herself a husband to support 
her!" (June is engaged to Gar Wood Jr. 
and will probably be getting married 
any day now.) She said she likes to 
have ready cash on hand and so half 
of her savings go right into the bank. 

Will You Ever Be Rich? 

She buys annuities with the other half. 
"You know — so I'll have a steady in- 
come when I become old and feeble, but 
not a big sum of money which some 
slicker might get away from me. You 
know how impractical old ladies are. . . ." 
She grinned that engaging Preisser grin. 

ELLA NEAL declared she is saving 
■- twenty per cent of her earnings which, 
she insisted, proudly, "is pretty darn good 
when you figure I've only been in pic- 
tures a year and don't exactly make a 

When Ella was given her Paramount 
contract, her mother signed a release 
guaranteeing not to claim any of her 
earnings. Thus none of her salary is 
impounded by the state, though she is 
not yet twenty-one. Her savings include 
payments on a small endowment insur- 
ance policy, which her parents took out 
for her some time ago in order to teach 
her to save money, and bank accounts. 
She said she wants, someday, to buy a 
dress shop and design the clothes herself. 

Phil Terry said he saves about twenty- 
five per cent of what he makes and that 
practically all of that goes into govern- 
ment bonds. 

"I'm patriotic, you see," he remarked. 
And then, grinning, "Besides, government 
bonds are a darn good investment!" 

Betty Jaynes Rhodes (who in private 
life is Mrs. Douglas McPhail and has a 
small daughter) admitted she doesn't 
save much of her money besides the 
fifty per cent which is automatically im- 
pounded by the state, since she is not 
of age. She said, however, that she does 
carry a small life insurance policy for 
the baby and another for Douglas. 

A BOUT this time, most of the group 
*"* were called back to work, but they 
left us with something to think about. 
Was such practicality typical in this 
fabulous Hollywood of ours, or was it 
simply remarkable coincidence that all 
in this sextette should handle their money 
so carefully, while others trod the tra- 
ditional path of extravagance? So we 
interviewed a large group of Hollywood's 
best known starlets — not the Mickey 
Rooneys or the Judy Garlands, to whom 
wealth and security are already definitely 
assured, but those who have not yet 
climbed quite so high and whose salaries 
are not, therefore, quite so large. 

There is Tim Holt who says, "Saving 
is forgetting that you make as much 
money as you do." Tim, as you know, 
has a contract with RKO. He also has a 
real business head on his shoulders. He 
started out with nothing. He's been 
working five years. During that five 
years, he has acquired a wife, a baby, 
a fifteen-acre ranch, a completely fur- 
nished home on the Pacific Palisades, 
five horses, a large amount of life insur- 
ance and a small savings account. 

He bought the ranch from a bank 
whose officers he talked into selling with- 
out the usual down payment — since he 
didn't have any down payment. Now, 
the establishment which is run by a man 
who formerly worked for Tim's father, 
Jack Holt, is practically paying for it- 
self. To date, Tim figures it has cost him 
about twenty-five per cent of his earn- 
ings — which, he points out, weren't very 
much at the beginning of his career. 
Besides this, Tim has invested about 
fifteen per cent of his income in life 
insurance — the kind that later can be 


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FEBRUARY, 1942 79 



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converted into annuities. 

Now that his ranch is costing less and 
less of his earnings, Tim is putting the 
surplus into defense bonds. He keeps 
only a small amount of cash in the bank. 
"I think money should work for you, 
rather than lie idle," he said. 

Anne Shirley, also at RKO, says she 
saves approximately fifteen per cent of 
her salary, which is disposed of as fol- 
lows: Ten per cent in government bonds, 
bought for her baby daughter; five per 
cent in life insurance which can be con- 
verted into annuities later on if she 
wishes. She uses another five per cent 
of her income for payments on an an- 
nuity she is buying for her mother. Anne 
is, also, one of those sagacious movie stars 
who puts away a certain sum each week 
into an "income tax fund." Although in 
private life she is Mrs. John Payne, she 
and John keep their finances separate. 

JOHN, who is Twentieth Century's whit- 
est hope for 1942, admits he isn't too 
practical in the handling of his money 
and that budgets drive him crazy. So 
he just does this: After all obligations 
are taken care of, he saves the rest, 
putting it into government bonds and 
annuities. John doesn't believe in that 
great American institution, the install- 
ment plan; he pays cash for everything 
and doesn't buy if he hasn't the cash. 
He said he has never figured out the per- 
centage of his salary saved, that he 
just does the best he can — but never for- 
gets to have fun while he goes along. 

George Montgomery, handsome young 
star at Twentieth Century-Fox, has or- 
dered the studio Credit Union (a sort of 
savings bank which pays good interest) 
to withhold half of every pay check. With 
the rest of his money, he supports him- 
self and five relatives, which doesn't 
leave him very much over, he told us. 
However, he went home to Great Falls, 
Montana, a while back and made down 
payments on two ranches! 

"Took every cent I had," he confided. 
His agent was mad as hops. So now it is 
in George's contract that he mustn't buy 
any more ranches without his agent's 

Lynn Bari, also at Twentieth Century, 
may be very feminine and sex- appealing, 
but she knows what financial matters are 
all about, too. Lynn is a firm believer in 
government bonds. She doesn't exactly 
budget her earnings, but after all her bills 
are paid and a sum set aside for payments 
on income tax and on an annuity she is 
buying which will give her $25 a week 
for life after fifteen years, she puts any 
cash left over in all kinds of bonds — de- 
fense bonds, postal savings, United States 
bonds, and so on. Roughly, she figures 
that, with the annuity she is buying, she 
is saving about thirty per cent of her 

CAROLE LANDIS, another Fox star, 
spends every Thursday evening go- 
ing over her finances and keeps a record 
of them down to the very last cent. 
Ever since she has been earning any- 
thing, she has saved twenty-five per 
cent of what she makes — even back in 
the days when that meant scrimping 
plenty! At first, her savings simply went 
into the bank — "sometimes a dollar at a 
time," she says — but now • that she has 
more money, it is handled this way: One 
fifth of her savings allotment goes into 
an endowment insurance policy with her 
mother as the beneficiary; two fifths of 
the allotment into government bonds and 
two fifths into a fund she is setting aside 
with which to buy a home for her mother, 
herself and her five dogs! Carole sup- 
ports her mother, and Mrs. Landis, in 
turn, keeps house for Carole. 

John Shelton, another of Twentieth 
Century's white hopes, has his finances 
figured out in still a different way. He 
sets aside fifty per cent of his earnings 
and puts every last cent of it into good 
old California real estate — the safest in- 
vestment in this man's world, he thinks. 
He is buying two ranches — one in the 
northern part of the state and one in 
the south. The one up north is looked 
after by a young graduate of California's 
Davis Agricultural College on a per- 
centage basis. It is stocked with cattle 
and so far has paid for its upkeep and 
part of the original investment. 

And take Susanna Foster. Sue is 
young, but ever since she has been work- 
ing she has had the say as to what 
should be done with her earnings — that 
is, of course, besides the fifty per cent 
which is automatically impounded by the 
state until she becomes of age. Susanna 
has dependents, too — her father, mother 
and two sisters and it takes quite a little 
to keep a family that size going. She is 
also spending a goodly sum on music 
lessons, not only for herself but for her 
sisters, which costs money. But notwith- 
standing all this, she regularly puts away 
five per cent of every pay check. One 
week, the money goes in the bank; the 
next, into defense bonds. And so on. 

"I like my eggs in several baskets." 
she explained with a most grownup air. 

Patricia Morison saves forty per cent 
of her income and this forty per cent 
is disposed of as follows: Twenty-five 
per cent goes into her savings account: 
five per cent into a life insurance policy 
which has a good loan value for an emer- 
gency and of which her mother is the 
beneficiary; ten per cent into Paramount 

NELL O'DAY, at Universal (you'll be 
seeing her soon in "Stagecoach Buck- 
aroo"), saves twenty per cent of her 
salary and has ever since she's been 
working. Of that amount, half goes into 
the savings account; a fourth into pay- 
ment on a life insurance policy benefiting 
her mother, whom she supports, and a 
fourth into government bonds. 

"I like a good big savings account." 
she confided. "I've been in the show 
business long enough to appreciate what 
it means to have cash on hand — and what 
it means if you don't!" 

She said she had only bought the life 
insurance policy last year. "Before that. 
I used to take little fliers in the stock 
market," she said. "I thought I was very 
clever in the world of finance, and I did 
build my little capital into quite a sum. 
And then — I lost it all at once! Sud- 
denly, I realized that if anything should 
happen to me, things would be pretty 
hard for Mother. So I quit playing the 
market and bought a 30-pay-life policy. 
That means that it will be paid up in 
thirty years and the cash value will be 
practically as much as ,the net amount 
of all premiums in the thirty years. In 
the meantime, Mother is protected." 

And so there you see what some 
typical young Hollywood stars are doing 
with their money. And you see, too, that 
every one of them is preparing for that 
sad, distant day when career must end. 
They are young now. You might think 
their heads would be turned by the suc- 
cess that has come their way so spec- 
tacularly and so fast. But that isn't the 
case. At last, to our way of thinking, 
no youngster is having his head turned 
by success when he can so straight and 
soberly look ahead toward that rainy day. 
inevitable in the lives of most of us. 
and say, "Well, I hope you're a long 
way off from me. but anyway. I'll be 
ready for you when you come!" 
The End. 

photoplay combined with movie mirror 

The Truth about Stars' 

(Continued from page 67) with charities, 
incidents that, if names were published, 
would be enough to damn some Holly- 
wood figures forever. 

For instance, some stars are fearful 
snobs about their charities and some are 
charity climbers, just like their society 
sisters in other towns. And some stars 
: are downright stingy, with two particular 
stars, both male, standing out as tighter 
than mucilage on a stamp. 

The charities that attracted all the 
snob stars were the British charities, so 
terribly cricket, you know, and absolute- 
ly plumey with lords, ladies and even 
duchesses. It isn't as though a lot of 
sincere people didn't start making 
bundles for Britain, genuine souls like 
Benita Hume Colman, Annabella, Pat 
Paterson Boyer and many others. But 
there were also some stars who had never 
got on quite the right side of the Beverly 
tracks who tried to make it by going all 
out for Britain. 

There was, or rather is, one in par- 
ticular who, very American, is driving 
all her sister Americans wacky by her 
demands upon them. She decided one 
night to call a star who heretofore had 
been too minor for her to notice. 

"I'm collecting for the British," said 
Miss Climber. "What will you give me?" 

"Nothing," said the lesser star. 

"But you don't understand. This is 
Miss Blank," said the star. 

"I do understand," said the lesser star, 
"and I still won't give unless you will 
give an equal amount to my favorite 
American charity." 

The major star rang off indignantly. 
Giving to starving Americans isn't chic 
right now. 

The two stars who get a gross of fish- 
hooks with each pay check, to make sure 
that not so much as a dime will slip 
- away from them, work at two different 
studios. The one is carefree as a lark 
but has been desperately poor, has earned 
everything he has by his own efforts and 
thinks the other guy can do the same. He 
won't give to anything and he is honest 
enough to admit it. 

The second star does a bit of camou- 
flaging. He's the type who is fussy about 
service in the studio cafe and then tucks 
a nickel under the plate for the waitress, 
whose weekly salary is 100 per cent less 
than his. Hit him with a hard-luck story 
and you get a lot of sympathy— and that's 
all. His act is that his agent keeps him 
broke, having him on a budget, you un- 

D UT now for some heartening anecdotes 
u about Hollywood charities. 

As far as the purely personal charities 
go, some of them are, of course, so big 
that there is no keeping them out of the 
papers as the stars would prefer. In that 
class were Cary Grant's gift of the $125,- 
000 he earned from "The Philadelphia 
Story"— half to the British Red Cross and 
half to the American Red Cross— and 
Edward G. Robinson's patriotic and beau- 
tiful contribution of $150,000 to the USO. 
Cary gives away most of his "extra" 
checks. Checks he gets from broadcasts 
he automatically turns over to China re- 
lief. The $125,000 he is receiving from 
Arsenic And Old Lace" he will never 
see. That goes twenty-five per cent to 
'jthe USO, twenty-five per cent to the 
American Red Cross and fifty per cent 
to British charities. 

Rosalind Russell turns over not only 
her broadcast checks but much time to 
China Relief, as also do Myrna Loy, Gin- 

jFEBRUARY, 1942 

"In those days they called me 
The Wreck of the Hesperus" 

"Don't believe it. It's impossible. It can't be you, my good-looking friend. 


"You're nice and polite. But there I am, skinny, homely, and tired- 
looking. Why, I even ..." 

"Even what? Tell me more!" 
"I got used to it! Thought it nor- 
mal, until I was told I had a 
Vitamin B Complex deficiency." 
"That's over my head." 
"It's a shortage of those amaz- 
ing vitamins you find in their 
natural form in fresh yeast. 
So I bought a week's supply of 
fleischmann's. Took two cakes 
a day in nice cool tomato juice, 
and pretty soon ..." 

"My Cinderella girl! I get it. But 
I don't get the tomato juice part." 
"That's the new way to take 
fleischmann's. Listen! Mash a 
cake of fleischmann's in a dry 
glass with a fork, add a little 
tomato juice, stir till blended, fill 
up the glass and drink. Divine!" 


.oioow 1 "''"' 1 , 

""Vj li«<l MM"""* 

ToVt two <o»«s » ^a- C\ 


<3 * y ^ 


Ever read the fleischmann 
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such as yeast and liver. Remem- 
ber, if you bake at home, that 
three of the important vitamins in 
fleischmann's, Bi, D, and G, 
are not appreciably lost in the 
oven; they go right into the bread. 

Fleischmann's Fresh Yeast 
For Natural Vitamin B Complex 





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ger Rogers, George Murphy and Alan 

But did you ever hear about the 
sorority that Barbara Stanwyck created, 
founded and supports? 

The way "Athena," the Stanwyck soro- 
rity, started is a tale entirely character- 
istic of Barbara Stanwyck, who loves to 
pretend that she is very hard-boiled. 
Stany herself has never told the story 
and has harshly forbidden her publicity 
agent's ever giving it out, but "Fearless" 
came upon the yarn, completely authen- 
ticated, from one of the girls who has 
benefited from the star's largesse. 

Like many another girl who has lacked 
the privilege of higher education, this 
particular miss felt very inferior about 
never having gone to college. Stany her- 
self had had to go to work so early that 
she never even finished high school, and 
meeting this particular lonely girl got 
Mrs. Robert Taylor to thinking. 

"Why do sororities have to be limited 
to college girls?" she asked. 

"Well, there's some in high schools and 
junior colleges," said the girl, "but mostly 
they are college stuff." 

"What good are they?" asked Stany. 

"Well, they give you a chance to meet 
other girls, have social life, have, well, 
fun and companionship." 

"Could one be composed entirely of 
working girls?" 

"Oh, of course!" 

"Do you know any good Greek names?" 

"Well, there was Athena, the goddess of 

"That's it," said Stany. "Athena, the 
wise dame. You organize the club and 
I'll back it — Athena, a sorority for work- 
ing girls who never went to college." 

That was how it started, several years 
ago, and today in and about Hollywood 
you will find many branches of "Athena" 
and many adoring girls singing Barbara 
Stanwyck's praises. The girls pay club 
dues and try to make their individual 
clubs self-supporting. It is a real sister- 
hood, with all the members pledged to 
help one another in sickness or heart- 
breaks or job-hunting. "Athena" is be- 
ginning to branch out into other states 
and communities, but Barbara is a patron 
star of all the branches and her wide- 
open checkbook is always there. 

Then do you know about Hedy La- 
marr's sponsoring the "Nobody's Chil- 
dren" program? It came about this way: 
The little boy whose custody Hedy 
has now finally been given came to her 
through the agencies which were finding 
homes for other youngsters via this radio 
appeal. The program was nation-wide but 
unsponsored. Radio time must be paid for 
and finally, funds running short, it faced 
going off the air. It was then that Hedy, 
who isn't high-salaried, stepped forward 
and backed the program for three solid 

months. She sincerely wanted to help 
more babies to find homes, not so much 
for the kiddies themselves as that other 
foster parents might discover the source 
of happiness she had discovered through 

When it comes to actual money given 
out and to personal time expended, Joan 
Crawford wins all the charity crowns. 
Joan supports two hospital beds in a 
leading Los Angeles hospital, has one 
specialist constantly on call for emerg- 
ency cases that may be brought to her 
attention. Over and beyond this clinic 
Joan's personal benefactions are too many 
even to list and it is doubtful if she her- 
self could remember all of them. She 
is forever setting somebody up in busi- 
ness, or financing some romantic but poor 
girl's wedding or providing some over- 
worked boy with a vacation. 

It was Loretta Young who provided 
the Sisters of Charity with their auto- 
mobile, and provided us with this tender 
little anecdote. Two nuns called upon 
her for a donation one afternoon and as 
they were leaving with a four-figure 
check safely tucked away, Loretta said 
she would see them to their car. 

The Sisters smiled gently. "We have 
no car," they said. 

Loretta gazed at them in bewilder- 
ment. She lives in swanky Bel-Air. a 
good five to ten miles from the nearest 
bus line. 

"How did you get here?" she asked. 

"We walked," the nuns said. 

Of course, they went away in the 
immediately produced Young limousine 
and before noon the next day a new 
sedan was delivered to the convent. 

ONE of the very nicest of Hollywood 
stories concerns a star and the lady 
he supports. Believe it or not, but it is 
absolutely true that he has never met 
her and wouldn't know her if he saw 
her. But he did know her husband, who 
was a small-salaried stock actor at the 
studio where the star is under contract. 

The stock actor was suddenly kille'i 
in an automobile accident. Hollywood, 
after the first rush of flowers, didn't pa; 
much attention, since the fellow had bee 
quite unimportant. But the star started 
investigating, found the actor's wife w a ; 
an invalid and nearly penniless. He wrote 
to the girl, discovered what a fine, brave 
person she was and started providing 
the comforts of a small, sunny apartment, 
regular medical care and good food for 
her. He has told her she can count on 
these comforts' enduring indefinitely. 

This is just another charity which can": 
be publicized, since the simple, open- 
hearted generosity of it would be mis- 
understood by those to whom no gesture, 
however fine, is ever disinterested. 
The End 

It's Oscar time in Hollywood! So don't miss — 

Hedda Hopper's own Academy Dinner 

served up in these pages next month — a feast of fun 
with little tin Kewpies and onion bouquets for all in 


March Photoplay-Movie Mirror 


photoplay combined with movie mirrosI 

Close Ups and Long Shots 

(Continued from page 4) career alto- 
gether, because Artie Shaw, her husband, 
wanted her to . . . but with "Ziegfeld 
Girl" the Turner ambition was born . . . 
and these evenings see less and less of 
the gay Lana in the night clubs, more 
and more of the serious Lana at home. . . . 

But John Carroll! . . . John Carroll 
happens to be Mr. Louis B. Mayer's par- 
ticular enthusiasm . . . that same Mr. 
Louis B. Mayer who understands stars 
so thoroughly and sympathetically . . . 
that same gentleman who maintains a 
standard of good taste in production that 
few studios can come within miles of 
approaching . . . like all dominant peo- 
ple Mr. Mayer can be stubborn on occa- 
sion and John Carroll to him is the 
irresistible force meeting the immovable 
object ... in this case, a producer firmly 
believing he has a star . . . and a swag- 
gering devil-may-care who just can't be 
bothered with doing the things you have 
to do to be a star. . . . 

It isn't alone that John Carroll refuses 
to be seen with "the right people" ... or 
do the "right things" . . . the big things 
with Carroll is that he sasses directors, he 
doesn't bother to learn lines until he gets 
right on the set, he clowns his way 
through things that he should be serious 
about . . . repeatedly Carroll gets in a 
picture and runs away with the notices 
. . . but now, after three years on the 
lordliest lot of them all, he is still right 
at the starting gate. . . . 

A ND, of course, Hollywood is ii 

in an ab- 
solute state about George Montgom- 
ery's suddenly appearing as an escort 
for Norma Shearer ... on account of 
Georgie_was supposed to be escort and 
leading man, on screen and off, to Ginger 
Rogers . . . because there is nothing so 
potent as "romance publicity" for a hand- 
some young man. . . . 

It is probably because George Sanders 
simply will not give out with any 
romance publicity or any publicity at all, 
practically, that makes Hollywood casting 
directors continue to ignore him. ... a 
million women could tell them the dream 
dynamite that one packs . . . but the cast- 
ing boys will always fall for the lads that 
the glamour girls of Cinema Corners 
have put their stamps of approval on. . . . 

Hollywood gossips now that Rise 
Stevens has been put into "Rio Rita" 
to replace Kathryn Grayson and nobody 
expects that the Deanna Durbin quarrel 
with Universal will be easily settled but 
the way all eyes are watching Vaughn 
Paul's first production for RKO is a 
caution . . . and meanwhile nobody un- 
derstands just what it is Joan Fontaine 
wants in the way of roles . . . not after 
she had to be practically shanghaied 
into playing the exquisite part of the 
girl in "This Above All" . . . and every- 
body wishes he didn't know all those 
stories about the Crosbys and wishes that 
he didn't have to take sides . . . because 
this is a story on which there are two 
such definite sides . . . Bing's and Dixie's 
. . . with four such sturdy little boys 
mixed up in the middle of it. . . . 

And if, in all this inner chatter of 
1942, you hear small mention of those 
names which, born in 1941, were called 
"hot box-office" do not be surprised . . . 
the old order has changed and the 
youngsters have arrived and taken over 
. . . and as 1942 goes on few and far 
between will be the mature stars who 
will be able to accomplish Ann Sothern's 
triumph of coming back via the "Maisie" 
B's to the glittery A ascendancy of a 
"Lady Be Good" and "Panama Hattie." 
The End 




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This flour, and the tasty rolls, bis- 
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MILK AND CHEESE— especially for 

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MEAT, eggs and sea food 
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tables for B vitamins. Vitamin 
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This message is approved by the officr of 
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BREAD, enriched or whole 
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photoplay combined unth movie mirror » 

When G-Girls Get Together 

(Continued from page 36) "What have I 
got in common with that glamour puss? 
She's probably bored with everything 
but herself." 

"Me like that 'Maisie!' " Hedy looked 
her incredulity. "I'll bet she goes jitter- 
bugging every night at the Palladium." 

This good-natured "feud" continued. 
From time to time other mutual friends 
told Ann she'd like Hedy. Lily Mac- 
Murray, who often told Hedy how much 
she'd like Ann, invited them both to a 
party. The room was filled with people. 
The two girls just happened to sit down 
on the same couch, at the same time. 
So they started to talk. Five hours later 
they were still talking. Lily finally had 
to tell them it was time to go home. 

HEDY told Ann about Jamesie. Ann 
hung on every word concerning the 
little boy who is at last Hedy's for keeps. 
For the very first time since he was 
taken out of her life, Ann found herself 
talking about David. To Hedy she poured 
the touching story of the lad she had 
brought into her home, planned to adopt, 
to give a brilliant future. Hedy under- 
stood Ann's suffering when she spoke of 
David's departure. Their mutual love 
of children was the first binding link. 
Since Lily MacMurray's party, there 
hasn't been a week when Ann and Hedy 
missed seeing each other. Sometimes it's 
oftener, their studio work depending. 
Soon after they met they discovered 
their houses were exactly one block 
apart, their street numbers exactly the 
same. Every morning when she isn't 
working, Hedy takes a walk with Jamesie. 
If Ann is home, they stop by, awaken 
her, sit at the foot of her bed and 
"dish." Hedy rambles on for hours. Ann 
just listens. Later on in the day, Ann,' 
who hates telephoning, puts in a call for 
Hedy. This time ^Ann talks. Hedy lis- 
tens. They discuss the studio, scripts, 
personal problems. Hedy is inclined to 
hide away from people. Ann urges her 
to get out and enjoy herself. When Ann 
tries to plan every moment, Hedy begs 
her to stop forcing. To live more for to- 
day. So, in many respects, they find 
themselves good for each other. 

As a rule, when a married couple come 
to the parting of the way, the wife goes 
home to mother. Ann's mother, a con- 
cert singer, was busy on a tour. So Ann 

t went to Hedy's. Having a similar ex- 

* perience recently, Hedy could appreciate 
Ann's feelings. She determined to help 

( : her get over it. It wasn't sympathy that 
Ann needed. Hedy was intelligent enough 
to know this would have been the wrong 
procedure. So she tried other tactics. 

"Annie darling, you look so forlorn," 
Hedy fondly poked fun at her. "You 

| look just like Pluto!" 

i* The ridiculous picture appealed to 
Ann's sense of humor. She burst out 
laughing. Right then and there the 
name stuck. Later on Ann got even by 

i referring to Hedy as "Vinegar Puss." 

. This title too has now become a legend. 
One of Ann's favorite stories on Hedy 
concerns the time the studio called her 
for night retakes. 

"I was only supposed to work until 
twelve," Ann tells it. At the same time 
she doubles up laughing. "Hedy gave 
me her front door key because she goes 
to bed early. Well, it turned out that we 
shot until after two. It was nearly three 
when I very carefully unlocked the front 
door. I took off my shoes and started 
tiptoeing up the stairs as quietly as pos- 
sible. The door to Hedy's room burst 
open. There she stood at the top of the 

■I stairs. Her arms were folded. She was 



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rEBRUABY, 1942 


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actually tapping her foot. 

" 'Where have you been?' she de- 
manded. 'I've been worried sick. You 
said you'd be in by twelve. Look what 
time it is. I've been calling hospitals 
and police stations. I thought something 
terrible had happened to you.' 

"Hedy was obviously and sincerely 
quite upset. But it was such a funny 
picture, her standing there just like 
my mother. I felt as though I were four- 
teen again. I sat down on the stairs and 
laughed until I cried. The madder Hedy 
got, the funnier it seemed to me. Then 
we started to talk. Hedy loves to eat all 
the time — which isn't so good for either 
of us. She went down to the refrigerator 
and brought back cheese and cold meats. 
We sat there talking until dawn." 

kA OST Hollywood glamour girls fit into 
»▼* a certain pattern. Their beauty se- 
crets they guard like a Government 
defense plan. While they give evidence 
of loving each other to death, their pro- 
fessional jealousy is forever lurking. 

Ann and Hedy are two of the most 
feminine women in Hollywood. They 
are also two of the most dominant. Yet 
they never clash. For one thing, they are 
interested in things that women are sup- 
posed to be interested in. They love good 
music. Oftimes they spend hours pick- 
ing out records. Hedy taught Ann some 
of her favorite Viennese folksongs. Ann 
is studying French. She uses Hedy for a 
guinea pig. 

Both girls love their home. Ann owns 
hers. Hedy's is rented out to Franchot 
Tone and his new bride. Hedy is collect- 
ing antiques, china and brasses for a new 
home she hopes to buy. When they 
aren't poking about in the little shops 
on Los Feliz Boulevard, they're over at 
the Howard nursery picking out plants 
for their gardens. Ann taught Hedy how 
to knit and crochet. Hedy showed Ann 
how to do needlepoint. Hedy loves 
American slang. From Ann she has 
learned when to say, "Oh Brother!" 

Hedy hates to go shopping. She prac- 
tically lives in slacks. Ann keeps after 
her. She urges her to wear beautiful 
gowns and jewels to enhance her beauty. 
Ann is inclined to be extravagant. Hedy 
is impractical. But she nearly swooned 
when Ann paid two dollars and a half 
for an imported lipstick. Hedy insisted 
that Ann try her own special brand. Ann 
loved it. Where could she buy one like 
it? Hedy answered her: "I get them 
at Wool worths!" 

The same generosity that prevails in 
this unusual Hollywood friendship asserts 
itself when either girl is talking about 
the other. Of Hedy, Ann is always en- 

"I've always been so busy working," 
Ann enthuses. "So I've had to sandwich 
in my friends. This picture doesn't in- 
clude a Hollywood glamour girl. There 
isn't anything very old-shoe about them. 
But Hedy is the antithesis of everything 
you'd expect such a beautiful woman to 
be. She's warm and unselfish. She's not 
like a career girl at all. I really think 
she'd be content to stay at home all the 

"Hedy has been through a lot in her 
life. This makes her sympathetic. Un- 
derstanding toward others. You don't 
have to stand on ceremony. with her. She 
herself is much too unpredictable. She 
breaks dates. Or forgets to show up. At 
the last moment she changes her mind. 
But you never pay any attention to any 
of this. You know she is your friend. 
You accept her as she is. 

"Hedy has a good insight to things. 
She can see the ultimate results. This 
influences me. I am inclined to worry 
until the ultimate results actually appear. 

Before I met her I imagined that Hedy 
would be dull — beautiful but dull. I 
supposed she'd spend hours in front of 
her mirror. It takes her fifteen minutes 
to shower, dress, put on lipstick and run 
a comb through that mop of hair. We 
go out for an entire day. She never 
looks in that mirror once. When you 
can say that about a gal — you know she 
must be a pretty real person." 

" A NN is much closer to being a haus- 
*Mrau than she is a jitterbug," Hedy 
tells you amusingly. "But, you know, 
before I knew her I only used to see her 
at the studio in those 'Maisie' clothes, 
wearing all that junky jewelry. I im- 
agined she must be that same kind of 
person off the screen, which proves what 
a convincing actress she is. I didn't real- 
ize how beautiful and glamorous she was 
until we met that night at Lily Mac- 
Murray's party. 

"Ann wasn't made to be a career 
woman. (Here we go again!) In real 
life she's anything but one. We wouldn't 
be friends if she were. She probably 
won't like this, but I think Ann has the 
greatest maternal streak of any woman 
I know. Ann is always worrying about 
something. Or someone. Once I didn't 
call her for three days. She called me 
and really let me have it. I know it 
wasn't because she wanted the attention. 
Ann is the most unpossessive person at 
all times. She was really worried about 
me. Isn't she wonderful? 

"Ann has the most amazing self-con- 
trol. I don't know how she does it. I 
get mad and there it goes! I yell and 
get it all out of my system. So I for- 
give more easily. Ann has a quiet way of 
working things out. It takes her a long 
time to get mad. But once she turns, 
it isn't a whim of the moment. She stays 
that way. You can depend on it. You 
never have to pretend around Ann. You 
can confide in her. You never have to 
caution her. 

"Ann and I are so different in tem- 
perament. She is the typical American 
girl — ambitious, friendly, always active. 
I can't stand to make plans. Ann is al- 
ways planning something. We both like 
to laugh. Ann's sense of humor saves 
many a situation. At the same time, she 
gets so serious about things. When I 
see her getting that sad look, I just have 
to say, 'Now, Pluto, that isn't good for 

"I really pay little attention to my ap- 
pearance. I'm not interested in lots of 
clothes. I seldom wear jewelry. I never 
wear hats. One evening Ann came over 
carrying a large sack. She explained 
she had seen a hat that looked just like 
me. Nothing would do, I must try it on 
to please her. I appreciated her thought- 
fulness and interest. So I put on the 

" 'You see, Pluto,' I pointed out to 
her, 'the hat looks just like a goose 
sitting on my head.' And it did. So 
she was content to let me send it back 
"I've never had a friend who is as 
genuine and natural. She is honest with 
me. She allows me to be honest with 
her. What more is there to hope for in 
friendship? I know this sounds silly, 
but I was quite lonely before I met Ann 
I've had lots of disappointments. A great 
many worries. So I stayed by myself 
Too much I guess. Ann insists on shar- 
ing her friends' burdens. So she made 
mine seem lighter. She's made me want 
to be with people again. I never ex- 
pected to find this kind of friendship — 
especially in an actress. But I guess 
anything can happen in Hollywood." 
Ain't it the truth! 

The End 


rHOTOPtAY combined with movie mirror 

This Above All 

(Continued jrom page 34) She knew that 
she would meet him the next night; she 
knew that somehow, for some reason, she 
would always do whatever he asked 
her to. 

I T WAS raining, a cold, miserable 
I drizzle, and the tea shops and cinemas 
were full. There seemed to be no place 
in Gosley for a man and his girl to go. 
They waited miserably in a partially 
sheltered doorway until the bus came 
and climbed into it along with too many 
other wet, cross people. They didn't find 
out it was the wrong bus until they'd 
gone several blocks and by then it was 
too late to do anything but stay on until 
they got to the crossroads where — 
eventually— they could catch the right 

At the crossroads a timetable informed 
them it would be fifteen minutes before 
the bus could be expected — and it was 
still raining and much colder. The only 
shelter in sight was a gaunt corrugated 
iron structure built over a partly cut-out 
hayrick and they ran for it. 
"I'm sorry," Clive said. "It's been a 

: great evening. Crowded out of the tea 
shops and cinemas — turned out of a bus." 
Prue shivered, without answering, and 
he said, "You're cold. Here — " He took 
a whiskey flask from his pocket. The 
unaccustomed spirits made her eyes 

■water, but she felt warmer afterwards. 

.The hay against which they leaned was 

isoft and comfortable. Clive laid his hand 
on hers. 

"Don't start that!" she said sharply and 
snatched her hand away. 

"I'm not starting anything!" He was 
angry, much angrier than she had been, 
and she felt ashamed. 

i "I'm sorry," she said. "Give — give me 

I another drink of whiskey." 

"You're so beautiful," he murmured 
when she handed the bottle back. This 
time she tucked her hand into the palm 
of his, in wordless apology. He leaned 
over and kissed her and her arms crept 
around his neck, holding him close. The 
whiskey flask slipped to the floor of the 
rick, forgotten. 

I EAFORD is a resort town on the south 
*~ coast of England, with a boardwalk 
and many ugly angular hotels and an 
amusement pier where before the war 
they used to have a concert party and 
sell souvenirs and soft drinks and candy. 
The pier was closed and the boardwalk 
almost deserted the afternoon Clive and 
Prue arrived there. 
Prue had a seven-day leave from camp 

' and she had wanted Clive to come with 
her to meet her family at Walsham. But 
he had wanted to come here and here 
they were. 

The station taxi deposited them at the 
steps of the Grand Hotel and a porter 
came rushing out to take their bags. On 
their way into the lobby they met a 

' woman in a traveling coat, followed by 
two children, a nurse and another porter 
with all the luggage he could carry. The 

' woman stopped and stared after Prue, 
who had walked past her with her face 

Upstairs, Clive and Prue had two rooms 
with a connecting door between, on the 

!] ocean front. When Clive had washed 
and exchanged his coat for a sweater he 
came through the connecting door. Prue 
[hadn't taken off her hat and coat. She 

1 was standing at the window, looking out 
•over the Channel — toward Calais. 

Clive stopped his cheerful whistling. 
"Tired?" he asked. 
Prue didn't turn around. Her voice 

j FEBRUARY, 1942 

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was unsteady. "I'm — all right, thanks." 

"But what's the matter? You were 
happy in the train — at the station." 

"Nothing's the matter." 

After a pause, he said, "Look here — if 
you've suddenly changed your mind, say 
so. If you've decided that it isn't right 
for you, we can pack up and go in the 
morning. You're free to do exactly what 
you like." 

"You wanted me to come here," Prue 
said angrily. "Well, here I am — so please 
stop asking me what I want to do! You're 
the man . . . it's your job to take the 
responsibility and decide." 

"But what happened? Why'd you 
change so since we were on the train?" 

"I didn't realize what I was letting my- 
self in for, that's all. I'm sorry." 

"It's a pity you didn't find this out be- 
fore," Clive said curtly. 

Dinner in the huge, echoing dining hall 
where only a few of the tables were oc- 
cupied was a torture to both of them. On 
the train Prue had taken off her uniform 
and put on a dress. That, and her 
changed attitude, made her seem like a 
stranger to him. He remembered that 
she was one of the rulers of England 
and that he had been born and raised in 
a Manchester slum. He made one more 
effort, at the end of dinner. 

"Let's go for a walk. I used to know 
a little place at the back of the town. 
It'll be more friendly there." 

But it was time for the news on the 
radio and Prue would not go. 

"Can't we forget all that for one 
night?" Clive pleaded. "Come on — we 
can go along the beach and get some 
fresh air." 

"And bury our heads in the sand, like 
ostriches?" Prue asked. 

"Are you coming?" 

"I can't understand you, Clive. Don't 
you want to know what's happening?" 

He lost all his patience. "It's not going 
to end the war or make it longer if we 
take a rest from that sickening radio, 
is it?" 

Prue set her chin obstinately. "It's 
our job to listen — even when it's hard to 
take. Go ahead and take your walk. 
I'm staying." 

When he returned, his face damp from 
the sea air, he found her packing in her 
own room. She had made up her mind, 
she said; they'd take the one o'clock train 
the next day. 

I T MUST have been long after midnight 
I when Prue awakened. Lying in her 
bed, she could hear Clive's voice coming 
through the thin wall from the next 
room. Clive's voice, yet not his voice. 
It was harsh, unnatural, somehow com- 

"Come on, you fool! Come on! There 
aren't any more! It's no good, I tell you! 
Get out of it . . . it's no good! . . . ." 

For perhaps two minutes she listened, 
terrified, wanting to go in and wake him 
but afraid to. Then the words died 
away into unintelligible mumblings, fi- 
nally stopped. 

She was up and had her bath in the 
damp cubicle down the hall before he 
wakened the next morning. It was a 
beautiful, sparkling morning and even 
when her eyes fell on her packed bag, 
she felt better. When she was back in 
her room she heard Cliye's door open 
and looked out to see him, bare legs in- 
congruous under a short topcoat, going 
down the hall toward the bath. Im- 
pulsively, she hurried to finish her 
dressing and went out. 

Clive was at the breakfast table looking 
sullen, when she returned with a package 
under her arm. She dropped it into his 
lap. "I did some shopping this morning 
— for you. Open it." 

Wonderingly, he snipped the strings 
with his knife and pulled back the paper 
to reveal a silk dressing gown. 


Suddenly shy, she said, "You looked so 
funny walking down the passage in tha' 
little shriveled-up coat and those ban 
legs. ..." 

Amazingly, they were laughing, great 
gusts of laughter that blew away all of 
last night's constraint and wretchedness 

"I'm sorry about last night," Prue said. 

"That's all right. I understand." 

"No, you don't. The fact is, we ran 
into my Aunt Iris." 

"Your what?" 

"Aunt Iris. The woman who was leav- 
ing the hotel just as we came in. Oi 
course she recognized me. Isn't it in 
credible? Of all the places we could 
pick! I knew she'd taken the children to 
some place on the coast so they wouldn't 
be bombed, but I didn't know where." 

"It isn't in the least incredible," Clive 
said. "It's the kind of thing that always 

Prue picked up a fork and traced mus- 
ing patterns on the tablecloth. "Funny- 
how romantic a thing like this can be.' 
she faltered, "when nobody knows about 
it — then suddenly how — different — it all 
seems when an aunt appears. . . ." 

"Are you leaving just because of Aun" 

"I . . . suppose so. . . ." 

BUT, after all, she didn't leave. Instead, 
they both moved to another hotel, tht 
"friendlier" place Clive had mentionec 
the night before. It was an old inn. no: 
at all grand, but — friendly. 

At lunch in the new inn, the fat pro- 
prietor brought an envelope to thei: 
table. "A telegram for you, Mr. Briggs 
Sent over from the Grand." 

Prue saw Clive's skin whiten, hi> 
fingers fumble as he tore the envelopt 
open. But there was relief in his face 
as he read the message. 

"Clive," she said gently, "what's wor- 
rying you, darling?" 

"Me? Why, nothing." 

"You told me you slept very well?" 

"I did. Why? What's the point?" He 
was defensive. 

"Nothing . . . Only I — I heard talking 
in your room. As if you were having a 
nightmare, a very special kind of night- 
mare. And now this telegram." Sh< 
waited, but he did not answer. "It's al. 
right if you don't want to tell me, Clive 
But I know there's something." 

He tossed her the telegram. "That isn : 
anything. Read it, if you like." 

"Wangled forty-eight hours leave. 
Coming down for binge. Monty," it 

"Who's Monty?" 

"An old friend of mine. You'd like 
him." He smiled suddenly and lifted tht 
glass of excellent wine The Coach and 
Four served with its lunches. "Let's for- 
get Monty. I'm beginning to feel happ> 
again and there's something I forgot t 
tell you at breakfast." 


"You're very lovely. And it was very 
sweet of you to give me that drt- 

They were happy for the rest of that 
day. But that night again, Prue wok( 
up and heard his voice crying out in 
terror and command. She got up. this 
time, and went into his room to wake 
him. She was shocked when she saw 
his face in the moonlight streaming in 
the window. It was wet with sweat, 
twisted with anguish. She shook him by 
the arm and he struggled up out of 

"You were calling out orders. . . ." 

"It's nothing. I'm (Continued on page 90^ 

photoplay combined with movie mirror 

"I love him because he don't know how to kiss- 

Samuel Goldwyn, master producer, 
scores again with a picture both heart- 
warming and uproariously funny— the 
story of a sedate professor who knew 
all about dead languages and nothing 
about live ladies until a night club 
gal crashed his bachelor quarters and 
rhumbaed right into his heart. 

few j«#r 


Directed by HOWARD HAWKS 

Released through RKO Radio Pictures Inc. 


Hear Qene Krupa with his drums and his famous orchestra 

'EBRUARY. 1942 


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{Continued from page 88) all right. It's 
just when I'm overtired, sometimes I talk 
in my sleep." 

"Clive . . . you were in the army?" 

"Yes," he said painfully. 

"Why didn't you tell me, Clive?" 

"Why should I? I'm not of it now." 

"Were you wounded?" 

"No, I ... I was ill." 

"Were you in France? What was it 

"You won't be satisfied until I tell you, 
will you?" he said savagely. "All right — 
it was hell! Dirty, foul, disgusting. D'you 
want any more?" 

"No, not if you feel like that." 

"How did you expect me to feel?" 

"Proud. As proud as I am that you 
were there. Because that's the one thing 
about you I didn't understand. I knew 
you weren't the kind of man to shirk." 

He turned away, and she went back to 
her own room. 

KA ONTY— Corporal Montague— stamped 
'"* in upon them the next morning as 
they were having breakfast in Prue's 
room. He was chunky, blunt and con- 
siderably older than Clive, whom he 
called Nipper. Prue told herself she 
should resent the casual way in which he 
accepted her presence with Clive, but he 
was too disarmingly friendly. They went, 
the three of them, to the cellars of the 
Victoria Saloon, where a soldier played 
the piano and the floor was crowded with 
dancing soldiers and their girls. The 
single waitress was swamped with orders, 
so Clive left Prue and Monty at the table 
while he went to the bar for their drinks. 

"Sorry I crashed in on you and the 
Nipper this morning," Monty said in em- 
barrassment. "If I'd known you was 
there I wouldn't have done it." 

"That's all right. Were you and Clive 
in . . . France together?" 

Monty beamed. "I'll say we were!" 

"Was he . . . was he a good soldier?" 

"Was he — " Monty stared at her in- 
credulously. "Listen here, Miss, let me 
tell you something. If you'd seen him 
coming up the road from Arras . . . com- 
ing through hell as cool as a cucumber — 
then going back next night and doing it 
again — you wouldn't have to ask me if he 
was a good soldier!" 

"Monty!" They looked up. Clive was 
standing over them, pale with fury. 
"When you've won the war, give me a 
call. I'll be at the bar." 

"Now, Nipper!" Monty forced Clive into 
a seat. "Don't be a silly chump." 

"Well—" Clive said. "All right. But 
we won't talk about the war." 

"Right!" Monty agreed, and raised his 

There was an air raid that night — Lea- 
ford's first. It came near midnight, after 
Prue and Clive had left Monty at his own 
hotel and returned to The Coach and 
Four. But they had not gone to sleep. 

"Monty looked so worried when you 
said good-by to him," Prue had said. 
"And I noticed, earlier, the two of you 
were leaning over the table, talking like 
conspirators. What's the matter, Clive?" 

Clive turned out the light and threw 
aside the black-out draperies at the win- 
dow. "Monty wanted to see me about a 
friend of his, who joined the army the 
day the war began. He believed that he 
was going to fight for his country, but he 
was bitterly deceived. He was ready to 
fight and willing to die, if there was sense 
and reason to it — but he found no reason 
and no sense. He was ready to follow his 
leaders and he found them stupid, com- 
placent and out of date, with no claim to 
leadership but birth and class and privi- 
lege. They were not leading him in a 
struggle for a better England — they were 

asking him to help preserve the rotten, 
worn-out conditions that had kept their 
class in comfort and his in poverty. 
They asked him to give his life for some- 
thing he hated and despised." 

There was silence. Prue was standing 
near him, wraith-like in her negligee. 
She said softly, "But doesn't he think — 
this friend of Monty's — that this is no 
time to doubt and argue, when his coun- 
try's fighting for its life? To be beaten 
in this war would be terrible!" 

"That's what he's trying to see clearly," 
Clive answered. "He asks himself this 
dreadful question: If England were to 
lose, could we be worse off, or weaker, 
or more shameful? He's told himself he 
is fighting for England — but do you know 
what England means to him? It means 
poverty — hunger — begging for work, no 
matter how cruel and humiliating. And 
if our armies win this war — what share 
will this man and millions like him have 
in the victory? None — England will be 
returned to the men who have owned it 
and disgraced it, so that they can go on 
disgracing it until the next war comes." 

Prue almost whispered, "But what is — 
this man — going to do, if he won't fight 
any more for England?" 

"Soon — very soon — tomorrow, perhaps 
— they'll call him a . . . deserter . . . 
They'll hunt him down — arrest him. . . ." 

It was then they heard the first planes 
coming over and the air-raid siren. 
A horrid clicking smack, almost directly 
overhead, told of bursting shrapnel from 
Leaford's anti-aircraft batteries. 

Prue clung to him, trying to still the 
terrified leaping of her heart against the 
solidity of his body. He led her away 
from the window to the chair by the bed. 
cradling her there in his lap like a child. 

She cowered at another burst of shrap- 
nel. "I'm afraid I'm not very brave." 

"You are brave — and you're beautiful." 

"You're saying that because there's a 
raid on, to make me stop thinking." 

"No. I've told you before, and I'll tell 
you again, when it's over." 

A bomb dropped near them then, with 
a crunch and a crash. "There," he said. 
"The closer it was the safer we're going 
to be from now on. Two won't land in 
the same spot." 

SHE felt his courage flowing into her 
and knew she could not have lived 
through these minutes of terror without 
him. When, at last, the "All Clear" 
sounded, she went limp with utter weari- 
ness and hardly knew when he picked 
her up and laid her on the bed. 

Toward dawn, in his own room, Clive 
wrote a letter. "Dearest, I would no more 
attempt to destroy what you believe than 
I would tell a child that Father Christmas 
did not exist. Where I am going, I don't 
know, and I don't care. I'm tired. I 
want to say how decent you were. I wish 
I had been more decent to you. Good-by 
— and our coming from the darkness into 
the light of knowing each other was very, 
very sweet. Yours, Clive." 

He had dressed before he sat down to 
write the letter. Now he stood up and 
picked up his hat and coat and the letter 
and went out into the hall. He would 
leave the letter at the desk downstairs 
and they would give it to her in the 
morning, after he was gone. 

A deserter from England's army walks 
in loneliness and danger, every mail's 
hand against him. And Clive is now a de- 
serter, cut off from the girl he loves as 
well as from his countrymen. Don't miss 
the conclusion of this dramatic romance 
in next month's PHOTOPLAY -MOVIE 

photoplay combined tcith movte mirror 

Round-Up of Pace Setters 

Continued from page 56) to Georgia, 
■"here were no fine schools of drama to 
id Evelyn in her desires, but persistent 
ffort and faith in herself turned the 
rick. So, you see, it can be done. 

What's Sarong With This? 

Philip (one 1, please) Reed has been 
naking pictures since 1933, always fully 
lothed and in his right mind. He was 
landsome, young, talented. And so what 
lappened? Well, practically nothing, as 
ar as that goes. At least no presses were 
topped, no worlds were set afire and no 
ans stampeded. But, in 1941, Mr. Reed 
r — removed his garments, donned a 
arong for his role of the meanie in 
Aloma Of The South Seas" and over- 
ight became a sensation. Fortunately, 
is acting more than outshone his appeal 
d the feminine eye and Mr. Reed is 
nally on his way with the pictures 
Weekend For Three" and "Heliotrope 
larry" behind him. 

Mr. Reed is a charming gentleman of 
everal accomplishments. Besides his act- 
rig ability, he's the best tennis doubles 
layer in Hollywood and so talented a 
iolinist as to appear with Werner Jans- 
en's symphonic orchestra. Furthermore 
-get ready, girls — he's a bachelor, a tall, 
lack-haired, brown-eyed eligible of 
hirty-two. But hard to catch. He's set 
i his ways. He says so himself. 

From Erasmus High School in Brook- 
yn, where he was born, Philip with his 
ne "1" joined the Freshman class at Cor- 
ell for one year. School dramatics, plus 
is music, had decided him on his course, 
le would be an actor. 

From Cornell to Hoboken, New Jersey, 
raveled our hero to join a stock com- 
•any in which, to his utter amazement, 
e found himself appearing in blackface 
or a role in "The Green Goddess." Reed 
without Mammy received ten bucks 
weekly for his stint. 

Along about then Philip decided to add 
ancing to his congregation of abilities 
nd began the art of tapping a mean toe 
/ith a redheaded little teacher named 
'agney — Jimmy Cagney. 

Several stage plays, "Grand Hotel" 
mong them, and a vaudeville tour with 
he late Lilyan Tashman and Alma Ru- 
<ens came before his advent into pic- 
ures, which included such opuses as 
Klondike Annie" with Mae West, "Ac- 
ent On Youth" and a dozen or so others. 

Back in New York in 1936, Philip (still 
/ith his one "1") joined Tallulah (with 
iree "l's") Bankhead in the stage play 
Reflected Glory." Hollywood was in his 
lood by then; he'd bought a house and 
/as aching to get back. One year later 
e thought better. He'd traveled to Eng- 
and to make pictures, beheld the misty 
noors of Scotland, viewed the lush green 
■f an English countryside and, because 
ie was one of the best tennis doubles in 
England, he'd been entertained in the 
iome of Sir James Whatever-his-name- 
5 during the tournaments, tasting the se- 
enity of English country life and sauted 
:idneys for breakfast. Hollywood could 
ever be his all-in-all again. And be- 
ause he lessened his grip on it, Holly- 
wood flounced after him like a shame- 
ess hussy, making the name Philip Reed 
ne to be reckoned with. 

His last stage stint was a pip. He played 
ll through the New York and now mem- 
rable Chicago runs of "My Dear Chil- 
dren," with John Barrymore. 

He believes marriage should be made 
nuch more difficult to achieve and di- 
■orce easier. He doesn't go gadding 
bout night clubs much and likes quiet 

EBRUARY. 1942 


. . . Returns from 
forbidden land 
to teil of strange 


A strange man in Los Angeles, 
known as "The Voice of Two Worlds," 
tells of astonishing experiences in 
far-off and mysterious Tibet, often 
called the land of miracles by the few 
travelers permitted to visit it. Here 
he lived among the lamas, mystic 
priests of the temple. "In your previ- 
ous lifetime," a very old lama told 
him, "you lived here, a lama in this 
temple. You and I were boys together. 
I lived on, but you died in youth, and 
were reborn in England. I have been 
expecting your return." 

The young Englishman was amazed 
as he looked around the temple where 
he was believed to have lived and 
died. It seemed uncannily familiar, he 
appeared to know every nook and 
corner of it, yet— at least in this life- 
time — he had never been there be- 
fore. And mysterious was the set of 
circumstances that had brought him. 
Could it be a case of reincarnation, 
that strange belief of the East that 
souls return to earth again and again, 
living many lifetimes ? 

Because of their belief that he had 
formerly been a lama in the temple, 
the lamas welcomed the young man 
with open arms and taught him rare 
mysteries and long-hidden practices, 
closely guarded for three thousand 
years by the sages, which have en- 

abled many to perform amazing 
feats. He says that the system often 
leads to almost unbelievable improve- 
ment in power of mind, can be used to 
achieve brilliant business and profes- 
sional success as well as great happi- 
ness. The young man himself later 
became a noted explorer and geogra- 
pher, a successful publisher of maps 
and atlases of the Far East, used 
throughout the world. 

"There is in all men a sleeping 
giant of mindpower," he says. "When 
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dinners at the homes of his friends. 

And no need to write the Easter Bunn 
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Reed as an Easter token. 

"O" As In Oh, Honey: 

When two, eyes of blue come twinkli: _• 
through, it's O'Driscoll and we'll have 
you be knowing. No eyes in all Holly- 
wood twinkle and laugh as do Martha s. 
And why? She's been five years getti: a 
a toehold in movies and that's not funnv. 
She absolutely lost the best chance that 
will come her way in a coon's age when 
her studio could not lend her for the 
lead in "Our Town" that made Martha 
Scott famous. And is that something to 
laugh about? The care of her family rests 
almost entirely on her well-modeled 
shoulders and would anyone grow gayer 
than a gingerbread man over that? 

Well, Martha would, which is why we. 
everyone on the Paramount lot ar.d 
just people everywhere love O'Drisco... 

Martha, whose latest picture is "Mid- 
night Angel," was thirteen when she left 
Phoenix to come to Hollywood and try 
her luck at movies. Since she'd been a 
baby almost, Martha had been preparing 
for the work she wanted to do, studyir.2 
singing, dancing and dramatics. It wis 
summer vacation, hot as blazes in Phoe- 
nix, and Mrs. O'Driscoll agreed to bring 
her daughter to the Coast just for the 
summer. That was the year 1935 AD. 
and Paramount studios had issued a call 
for dancing girls. Martha answered the 
call, giving her age as eighteen (and she 
really looked it) and went to work in 
the chorus lineup for "Collegiate." She 
danced in Paramount's "Big Broadcast y. 
1936." Universal saw her, signed her ar.d 
practically dropped dead when Martha 
told her real age — fourteen. 

She didn't make history or pictures, 
either, at Universal, but a huge scrap- 
book packed from cover to cover reveals 
her to be Universal's choice of the g ri 
to pose for leg art, for bathing suits, for 
new hair-dos and whatever came along 

What finally did come along, of course, 
was M-G-M and after Martha had grad- 
uated from the Immaculate Heart Con- I 
vent in Los Angeles and completed her 
high-school career, she signed with the 
Culver City studio. "The Secret Of Dr. I 
Kildare" as a nurse, "Judge Hardy And 
Son" as the bespectacled rich girl and I 
"Forty Little Mothers" as a schoolgirl | 
was the program there. Some splendid 
radio work and several RKO pictures 
were sandwiched in between and then 
just five years later, when she really was 
eighteen, Martha returned to her first 
love, Paramount, where she's grabbeo I 
off a rich plum in "Out Of The Frying 
Pan" and a very rich one in DeMille': 
big production, "Reap The Wild Winl 

Out in the Valley she's bought a ho:n< I 
for herself, her mother and the twi I 
young brothers she adores. She has i I 
unique plan for keeping her heart fre» I 
from entanglements. She doesn't see :<x I 
much of any one lad, lest she get int< I 
romance heart-deep. And Martha isn"' I 
ready for real romance as yet, thougi I 
she has the Hollywood night-lifers guess, I 
ing on her cheek-to-cheeking with Rich 
aid Denning. 

Her bowling team, composed of Para) I 
mount workmen and facetiously cahei I 
The Martha O'Driscoll Angels, adores hev I 
When a member is absent, Martha pitchejJ 
right in and bowls with them and, mori I 
than that, she bowls them over with ha I 
high scoring. 

She saves half of everything she makejil 
is a natural blonde and a natural, chaimiJ 
ing, delightful person to know. 

We know. We were there. 
The End 




(Continued jrom page 45) years to be 
honored guests at their luncheons, only 
to be met with the well-known brush-off, 
suddenly started phoning to inquire in 
honeyed tones, "When am I going to at- 
tend one of your nice luncheons?" This 
bold stand of the Press Club gals is doing 
plenty towards taking the starch out of 
the stars. They've smoked out the 
phonies for fair and everybody's having 
a good laugh over it. 

Although we're improving, we have a 
long way to go yet. Only recently, 
after the Browne-Bioff conviction, a 
famous editor tried to canvas the im- 
portant people of Hollywood for a round- 
' robin editorial and the silence was so 
• intense you could have heard an option 
drop as far as Burbank. There wasn't 
a quote in a carload. It was our chance 
to speak up, but, as usual, through fear 
we muffed it! 

Hollywood's private opinion of certain 
stars and their drawing power varies 
widely from that of the public's — as wit- 
ness the time an exhibitor printed a whole 
raft of names which were poison at the 
box office. On that list was Katharine Hep- 
burn, who later made a liar out of the 
gent in "The Philadelphia Story" (and 
I think "Woman Of The Year," just com- 
pleted, will be equally good). I don't 
say that Katie didn't have to work very 
hard to undo the bad impression she's 
made, because she did, but she had what 
it takes and justified Hollywood's faith 
in her. The same exhibitor named Mar- 
■ lene Dietrich and his timely criticism of 
her got her down to some real acting. 
Director Mitch Leisen tells me that in 
"The Lady Is Willing" Marlene gives a 
grand performance and one of the nicest 

It's Hollywood's Private Opinion 

compliments she's ever had was told to 
me by Aline MacMahon, who's return- 
ing to the screen in this one. Aline said 
she'd expected to just skim through the 
picture, but, after watching Marlene work 
the first day, she took her script home 
with her and worked half the night over 
her own part. That, my friends, is praise! 
There are many others in our town 
whose talents are admired and re- 
spected by their fellow players — Joseph 
Schildkraut, Walter Huston, Montagu 
Love, Marjorie Main, Spring Byington, 
Edna May Oliver, all of whom turn in 
consistently flawless performances. But 
the public withholds its enthusiasm and 
producers continue to bow to the box- 
office bull (or is it the golden calf?). 

AS FOR Hollywood's opinion of pic- 
tures, we've guessed wrong so many 
times you'd think by now that we'd just 
keep our fingers crossed and let the fans 
decide, but the industry's always been a 
hog for punishment and every time we're 
slapped down it's just a dare to get up 
and try it again. 

With all the brains and all the money 
and all the talent and all the years of 
experience behind us, we still can't tell 
a hit from a flop until it comes up and 
kicks us in the face. One of the 
best and most recent examples of this 
is the first film made by Abbott and 
Costello, a lowly B that was beaten to- 
gether for a mere $190,000. But once 
released, its success was so sensational 
that it emboldened Universal to row with 
their sweet little money-maker, Deanna 
Durbin. A year ago they'd have given 
her the moon and no questions asked; 
now they're talking back! 

Hollywood's private opinion of divorce 
has undergone a healthy change in the 
past few years and our married couples 
no longer hop into and out of double 
harness with the old carefree abandon. 
The Paulette Goddard-Charlie Chaplin 
marital status has ceased even to lift the 
lowliest eyebrow. It's just boring, no- 
body cares and Paulette continues to 
climb in popularity. Lana Turner's 
lightning marriage and divorce we've 
decided to overlook as a high-school 
girl's prank but she'll do well not to re- 
peat it, for it's much smarter these days 
to be happily married with even a baby 
or two (adopted or home grown) to your 
credit. The question of divorce is now 
gone into with much honest heart-search- 
ing before the final decision. One recent 
divorcee who escaped all censure is Lili 
Damita. Even Errol Flynn admitted that 
her request for alimony for herself and 
baby was eminently fair and the fact 
that Lili's still in love with the big good- 
looking lug has won her sympathy on 
all sides. 

ANN SOTHERN'S decision to divorce 
Roger Pryor has brought no reper- 
cussions other than the regret of their 
many mutual friends, because they're 
both such swell eggs and so regular. I 
think one of the main factors leading up 
to their split was the reversal of their 
monetary positions. No man wants to 
feel that his wife is the superior earner. 
It not only deflates his ego — it does 
something to his manhood. He simply 
must be the head of his own house. 

Hollywood hasn't quite made up its 
mind about all this rash of young 
marriages that's broken out in the last 



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year. When Deanna Durbin took the bit 
in her teeth it seemed to inspire all the 
other youngsters to follow suit. Metro 
was in a fine lather when Judy Garland 
announced she would marry Martha 
Raye's (ex) David Rose and they prac- 
tically swooned when their little nun- 
like Kathryn Grayson, whom they'd 
sheltered in their bosom for two years 
and who was about to step into stardom, 
eloped with John Shelton, a young man 
who got his chance at the same studio. 
On the other hand, Twentieth Century 
was quick to see the advantage in the 
joining of their star Sonja Henie to 
millionaire Dan Topping, also Gene 
Tierney to Count Oleg Cassini, and the 
fact that Gene's parents acted up (as 
parents usually do but shouldn't) not 
only gave her even more publicity but 
won her much local sympathy. 

The end of the juvenile marriages is 
not yet in sight. There's that certain look 
in the eyes of Jackie Cooper and Bonita 
Granville. Mickey Rooney seems un- 
decided between a half-dozen young 
lovelies and it looks as though Ann Ruth- 
erford might soon step off with David 
May (not of the films). Hollywood's re- 
serving judgment until these romances 
have been put to the test a bit longer. 

I T was long Hollywood's private opinion 
' that married couples had no right to be 
teamed on the screen. They seemed tc 
think that husband and wife in a picture 
together would have no romantic appeal 
for the public. But Jeanette MacDonald 
didn't hold with this view and fought 
like a tigress for Gene Raymond as her 
lead. The success of "Smilin' Through' 
has proved that she's right. Since then 
we've had Joan Fontaine pleading to 
play opposite her husband Brian Aherne 
and I suppose, after the birth of her 
baby, Alice Faye will insist that her lead- 
ing man be Phil Harris. 

Probably the most unique and mys- 
terious of all Hollywood's private opinions 
is the ruling on social standing and why 
We still pick 'em mostly for their bank 
accounts and spending capacity rather 
than background and good manners, al- 
though, since the war, any fourflushing 
phony with a foreign title is welcomed 
with open arms. 

Recently the Santa Monica set found 
out that the wife of a well-known star, 
who'd been fawned upon as a Southern 
aristocrat of azure blood, was in reality 
the daughter of the village grocer and 
got her money through a former marri- 
age. She's a perfectly nice and very 
pretty girl, with charming manners, bu! 
if she'd been the original "Scarlet Wo 
man"' with a large A tattooed on her 
chest she couldn't have got a worse cold 
shoulder. Considering the beginning- 
of most of these social arbiters, such a 
performance sounds a bit fantastic, until 
you stop and figure it out. As my old 
Granny used to say (of snobs), "Don't 
be too hard on 'em, Elda. You know, 
when you're not sure of yourself, you 
have to be awful sure of the other 

I had planned to finish this off with a 
word about Hollywood parties, but, siiu 
the war got under way, the word's gone 
round to pipe down on any opulent dis- 
play. Simplicity is the keynote and the 
old, amiable orgies where people imbibed 
freely, took down their back hair and 
had themselves a heck of a good time 
are a part of our dim past. The average 
Hollywood party, these days, is so 
genteel and so dull you can hear its 
stays creaking. We've gone respectable 
and conventional in a big way and our I 
refinement has become so "supercolossa." | 
that I wouldn't even bore you by telling | 
about it. 


(Continued from page 46) simple after he 
got here — or had you already guessed? 
So he got a job selling ties in a Los An- 
geles men's store. 

"Acting is selling, you know," he says 
now, looking very sage about it all. 
"And I'd had a lot of selling experience. 
I'm glad I had for a lot of reasons." 

He pulled up a knee, wrapped his 
arms around it and proceeded to ex- 
pound. He is, we might add, one of 
Hollywood's most amusing expounders. 
He warms so to a subject. 

"Y'see," he said, "you have to like 
people to do any of those things. You 
have to really care about people. It's a 
knack. And I guess I have it. That's 
where the hitchhiking comes in. I 
hitchhiked to Florida once and I found 
out that it isn't so much picking up a 
ride. It's hanging onto the ride. If you're 
interested in the people who pick you 
up — and get them to talk about them- 
selves — they'll take you for miles and 
miles. Otherwise, they put you down at 
the next crossroads. 'Far as we go, 
Buddy,' they say. People like to talk." 

HE was pi jtty young when he took 
the Florida jaunt and he hadn't the 
ghost of a notion of what he wanted to 
do when he arrived in Miami. The only 
smitch of professional experience he 
could boast was some dabbling in high- 
school dramatics and some activity with 
the high-school orchestra. He used this 
store of knowledge to get himself a job 
in a small night club and there he learned 
what it was to have a real audience. A 
paying audience. He went home that 
spring with a little money in his pocket 
and the sound of applause in his ears. 

Bob Sterling — Next for Fame 

We'll pick up a couple of threads just 
here and then deliver Bob to Hollywood, 
where he belongs. Home, as we said, was 
New Castle, Pennsylvania. His father, 
Walter S. Hart, had been a catcher for 
the Chicago Cubs and had retired to 
New Castle to manage a golf course. 
When Bob returned from Florida, seeing 
no jobs in the entertainment business at 
the moment, he went on the road (to his 
own surprise) selling automobile tires. 
He liked that, too, because it entailed 
meeting people. But they promoted him 
to the credit department after a while 
and that entailed a lot of arithmetic and 
no selling. That's where he was moping 
when they asked him to take a "vaca- 
tion" without pay. 

So-o-o, next thing he was in Holly- 
wood, selling neckties. He kept pecking 
away at the studios because that was 
what he had come out to do. He can't 
tell you, to this moment, how he knew 
he wanted to act. He certainly had no 
idea about how to go about it. 

"Acting is pleasing people," he said, 
helplessly. "Just as you do when you 
sell them things. There's more to it than 
that. It's being able to become somebody 
you're not and to think like him and 
look like him and . . . Well, I don't 
have to tell you what acting is. I can't! 
It's something you want to do or you 
don't. I want to and I have to." 

There was a pause and then he added, 
"You still have to sell the customers a 
bill of goods." 

He spent those early evenings in 
Hollywood in the public library, reading 
plays, just in case something should come 
up. He'd try to think how he would 
read those lines and often he thought he 

was pretty good. So when he read that 
Columbia was looking for a likely lad 
to play the lead in "Golden Boy" he 
thought, "I can do that." Forthwith he 
went out to Columbia to inform the 
casting office of this interesting fact. 
Someone inquired who his agent was 
and when he said he hadn't one they 
advised him to get one. But they gave 
him a test, anyhow, and signed him to a 
year's contract. 

"Everything's all right," someone told 
him. "You're going to play 'Golden Boy' 
and then you'll be all set. But don't 
tell anyone yet. We want to break the 
news in all the papers at once." 

So he read and reread the part. Re- 
hearsed it in front of his mirror. Wore it 
thin. And one day Bill Holden dropped 
in to see him. "I know who's going to 
play 'Golden Boy,' " he said, grinning. 

"Oh — did they tell you?" Bob practi- 
cally trilled this. 

"Ye-ah. It's me. Isn't that sumpin'?" 

It was, too. Nobody at the studio had 
taken the trouble even to tell Bob that 
the part had been given to someone else. 
But his contract held for a time and he 
began to learn about acting in the tiniest 
of bit parts. "I wasn't good for anything 
else," he says now. "But anyone who 
had told me that then would have had 
me to fight!" 

HE selected an agent at last simply be- 
cause he liked the looks erf the build- 
ing which housed the agent's office on 
the Sunset Strip. The agent took him 
on. Believe us, it doesn't often happen 
like that. Usually it's almost as difficult 
to get an agent as it is to get a job in 
pictures. Followed a fruitless trip to 

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New York, a return to Hollywood, a 
test or two and a couple of jobs in 
things like "Gay Caballero" and "Yester- 
day's Heroes," in case you remember. 
Then Metro signed him and started 
grooming him — which brings us right up 
to Louis B. Mayer's party at Ciro's. And 
right up to his role in the Garbo picture. 

He fell in love with her, cf course. 
Young players (older ones, too) nearly 
always do. At the drop of less than a 
hint he will rush into a recital of the 
simply amazing facts that Garbo smiles — 
even laughs — between shots. You gather 
that he was flabbergasted to see her 
actually eating a sandwich. He was 
worshipful when she advised him about 
his scenes and applauded him when she 
thought he was good. He was completely 
breathless about it all. 

Ann Sothern cried one day, "Well, tell 
us something! How does she look? How 
is she dressed? How is she wearing her 
hair? Tell!" 

Bob was bemused. "She looks all 
right," he reported, brilliantly. "Most of 
the time she has on something shiny. 
I guess it's white. She has a lot of 
eyelashes. And her hair — well, it's sort 
of curly and shoved up. That looks all 
right, too." 

Fashion editors, please note. 

"But I'm not even going to wonder 
whether I'm good in the picture — or even 
whether I'll still be in it when it's re- 
leased — until it is released," he said. "And 
I'm not going to wonder about my next 
part or worry about what they'll ask me 
to do. I'm never going to worry about 
or expect anything about anything." He 
paused and then added, "At least, I hope 
I won't. Maybe that's the most impor- 
tant thing I've learned!" 

Bob shared a bachelor apartment with 
young Henry Willson, talent scout for the 
Zeppo Marx agency, until a few months 
ago when his father met with an acci- 
dent which resulted in a painful leg 
injury. This gave Bob an excuse to move 
his family (father, mother and two sis- 
ters) to Hollywood and install them in a 
little house in Beverly. You're sure that 
Bob was very sorry his father had met 

with an accident. But there was a cer- 
tain — er — satisfaction in his feeling about 
"being at home," with his mother's cook- 
ing and all. 

"She makes gravy," he said. "And I'll 
eat anything with gravy on it. Meat, 
potatoes, vegetables. But she makes me 
eat bales of salads. California," he added, 
plaintively, "seems to grow an awful lot 
of things which go into raw salads!" 

Just as he finished his exciting chore 
in the Garbo picture, he had his first 
really tragic, really frightening personal 
experience. His father suffered a heart 
attack. A serious one. 

"It's so awful — when you don't know 
from hour to hour," Bob told me, that 
first day he came to see me. "There's 
something — cosmic about it, I guess. 
Anyhow, I'm the man of the family for 
the time being ... I'd better be good!" 

And there was that sense of respon- 
sibility, that first feeling of growing up. 
Bob has packed a lot of experience into 
a few years. Maybe Louis B. Mayer saw 
a very young man maturing very fast 
and making a good job of it. 

His father is better now and Bob is 
settling back to the job of f .ing his 
niche, getting his bearings. Somo of it is 
rough going. 

C OR instance, he doesn't like to go to 
' Ciro's very often. The photographers 
inside and the autograph hounds outside 
the place appall him. "I guess I just 
haven't got used to it yet," he confessed. 
"I know you have to be nice. It's part 
of my job to be nice. And it isn't that 
I'm shy, either. How could an ex-tire 
salesman be shy? But something hap- 
pens to me when they point those cam- 
eras or when a lot of people swarm up 
and ask for autographs. I get cold in- 
side. I have a feeling that most of them 
don't know who I am — that they're tak- 
ing a chance on my being somebody — and 
what am I going to say if one of them 
asks me?" 

Then, of course, there's the girl ques- 
tion. There has to be a girl question 
with anything as good-looking as Bob 
Sterling running around Hollywood. He 

This twosome — Bob Sterling and Gene Tierney — almost ended in 
a united marriage front. After the romance was over, Gene 
met — and married — Count Oleg Cassini (see story on page 28) 

photoplay combined with movie mirror 

finds it just a little bit puzzling. 

He classifies girls roughly as "glamour 
girls" and "outsiders." Don't be shocked 
at the latter term. It merely means that 
the girl is not in or trying to get into 
pictures. The difficulty is that the 
glamour girls want to be seen only in 
certain places. Their movements are 
pretty much curtailed. And they want 
to talk shop incessantly. He thinks that 
this constant harping on work gets bor- 
ng — until he tries to spend an evening 
jvith even the prettiest girl who doesn't 
snow a thing about the inside of a 
studio. Bob is pretty intense about his 
job and wants to talk shop a little bit, he 
iiscovers, after all. But the little out- 
iider is consumed with curiosity about 
Urn figures and imagines that he should 
enow the "inside gossip" about every- 
)ody. He doesn't and that, for some 
:urious reason, embarrasses him. He feels 
hat he's letting her down and they gen- 
ially wind up the evening with a feei- 
ng of mutual disappointment. 

After he had confided these bewilder- 
nents he said, worriedly, "Maybe I 
houldn't have told you any of this. I 
lave a feeling that when I fall for a girl 
-and it might be any time, you know! — 
t will be hard and final. And none of the 
hings I've said will turn out to be true 
-or to matter." 

THE house where he lives with his 
' father and mother (where he eats all 
he gravy) has an upstairs suite which 
s his own. A living room, dressing room, 
>edroom and bath. "It just happened to 
lave it," he explained, "and it's very 
onvenient because I can play my radio 
t queer hours without disturbing the 
ithers. We were awfully lucky." 

He's really good at golf. Plays in the 
3w figures and is viewed with respect 
>y experts. "I'll play in a tournament 
i'hen I get time," he says, looking wor- 
ied. "It might be fun, at that. I've 
lever had time to play except around 
he edges of other things I was doing." 

His best friends are the aforementioned 
lenry Willson and a young actor, Craig 
itevens, who has just caused such a stir 
iy his spectacular work in Warners' 
Steel Against the Sky." 

Then there is Muggs, the mongrel dog 
yhom he acquired by accident at Coro- 
lado. "A nice girl had found him and 
aken the trouble to get him across the 
»order and then her family wouldn't let 
ler keep him. Can you imagine?" Bob 
xplains. Then he tells you and tells you 
nd tells you how wonderful Muggs is. 
It's a difficult subject to change. 

Next to Muggs — and gravy — he likes 
lothes. Especially English tweeds and 
oft suede jackets and gabardine slacks 
nd shoes. He's a sucker for good shoes 
jid confesses that he has never yet 
■wned enough of them (with shoe trees) 
o satisfy him. He just likes to see them 
itting on a shelf, like rows of chorus 
;irls or something. 

He's nice and enthusiastic and unaf- 
ected and you'd like him if you met him. 
le hasn't quite analyzed that inner urge 
hat makes him want to act. He hasn't 
[uite analyzed what he means by acting. 
ie thinks that he could have earned 
nore money faster and more certainly 
f he had chosen something else. But 
cting chose him. Nothing in life could 
hrill and excite him as much as that 
>rocess of running through a script with 

good director just before they start to 
ehearse. He hasn't earned much money 
'et and the crowds still frighten him. 
Jut this is his world. This is where he 

What he wants now is to "sell my bill 
>f goods." 

The End 

Betty Grable, starring in the forthcoming 
20th Century-Fox Technicolor picture, "So/ig 
of the Islands," with make-up by Westmore. 
She says: "I use Westmore Foundation 
Cream, and it's really wonderful!" 

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Be good to your breast tissues and ligaments by wearing a Holly- 
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'EBRUARY, 1942 



your hair-do lovely! 

Speak for Yourself 

; fomous 

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NOTE: If notion coun- 
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1 1 T r r f 

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when you use this amazing 

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In one, simple, quick operation, 
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4. Helps keep hair neatly in place. 
LOVALON does not dye or bleach. 
It is a pure, odorless hair rinse, in 
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At stores which tell toilet goods^ 


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(Continued from page 17) favorite novel 
or play. Remember, for example, Leigh 
in "G.W.T.W.," Fontaine in "Rebecca," 
Scott in "Our Town," Holden in "Golden 
Boy," Ford in "So Ends Our Night" — and 
how many others? 

Carlson would be a great Oliver Wis- 
well. He is a fine actor, and I can not 
imagine anyone more perfect in appear- 
ance for the role. All through the book 
I saw him in those Eighteenth Century 
costumes, fighting valiantly by word and 
deed for the cause he thought was just. 

Hollywood, how about giving a de- 
serving young actor a real break? 
Connie Parker, 
Hollywood, Calif. 

$1.00 PRIZE 
New Year's Thought 

THERE are no players whose work I, 
' for one, enjoy more than the past- 
seventy troupers, seasoned veterans like 
C. Aubrey Smith, May Robson, Lionel 
Barrymore, et al., and I should like to 
pay this small tribute to them now at 
the start of a new year. Let them be 
reassured that in the floods of eulogy 
for beauty and youth they are not for- 
gotten. In almost any other business or 
profession they'd have retired long since, 
but old troupers, like old soldiers, never 
die. We could not spare them. 

D. W. Davies. M. D.. 
Vancouver, Canada 


XA/HY, with their whole careers before 
" " them, is it necessary for movie ac- 
tresses to emote before the cameras 
when they're blessed-eventing? I have 
been prompted to put this in writing 
time and again, but with the most recent 
and flagrantly offensive case in "Citizen 
Kane," my patience finally came to an 
end. Not only is Dorothy Comingore's 
condition noticeable, but in a recent 
movie magazine article Dorothy boasts 
about the way she successfully (sez she) 
fooled her admirers. That makes me 
good and mad! 

Jean Tigar Cohen, 
Schenectady, N. Y. 

I take my hat off to Harry Carey, 
the top-notch artist in Western films. I 

saw him in pictures some twenty to 
twenty-five years ago. He was in a clasJ 
by himself then, but now I am just goJ 
ing to say, "that no matter how goo* 
wine is, it will always improve 

Keep it up, Carey old boy, and giwi 
us old-timers someone to brag about 
Fred W. Steinborn, 
Brooklyn, N. Y. 

COR "hevvin's" sake, won't somebody 
' please stop our dramatic and roman- 
tic screen actors from appearing on comk 
radio shows? We feminine movie fans: 
would like to keep a few of our illusions | 
but how can we with Charles Boyej 
singing the "Hut Sut Song" and Herber 
Marshall cracking corny jokes with thV 
"Mad Russian?" 

These stars, who thrill us with theii 
fine acting on the screen, merely suc- 
ceed in making themselves appear ridicu- 
lous by their antics on the comedy sho.vs 
Rita Gage. 
Buffalo. N. Y 

A S a small fraction of the movie-go:n| 
'* public, may I make a suggestion' I 
Many good books and plays have bea! 
transmitted through the medium of motj 
tion pictures to a wider and appreciate 
audience. Why can't this be done v. iu 

With good singers, clever directior 
beautiful scenery, plus the genius toucjl 
of Hollywood, I know that this type tv 
movie would meet popular approval. I 
wouldn't be long before everyone in a)) 
the forty-eight states would be familiarlj 
humming tunes from "La Bohemejj 
"Faust," "Madame Butterfly" and othen 
Lena Bonetti 
Baltimore, Md 

J DON'T understand Hollywood! 
' producers are constantly searching 
and experimenting with new talent, w 
at their doorstep sits someone like CI 
Trevor. She has beauty, talent and youl 
She is capable of turning in as good 
performance as the greatest of thefl 
Yet she plays small roles when a I 
qualified actress gets starring roles. 
I think she is definitely great 
material and a personality Hollywood ca 
be proud of. Claire Trevor is a real lad, 
and a great actress! 

Emaleen E. Risk, 
Hollywood. Calif. 

First-rank supporter 
of Miss Bonetti (see 
letter above) is opera 
star Rise Stevens of 
"The Chocolate Sol- 
dier." Check up on 
the Stevens viewpoint 
on page 54; then make 
up your own mind 


photoplay combiiiod trifh movif m:j» 

Casts of Current Pictures 


Screen play bv Fred Finklehoffe and Elaine Ryan. 
Original story bv Fred Finkiehoffe. Directed by- 
Busby Berkeley. Cast: Tommy Williams, Mickey 
Rooney; Penny Morris, Judy Garland: Miss Jones. 
Fay Bainter; 'Barbara Jo, Virginia Weidler; Ray 
Lambert, Ray McDonald; Morton Hammond. 
Richard Quine; Mr. Stone. Donald Meek; Alex- 
ander Woolhott. By Himself; -Vic-*, Luis Alberni; 
Thornton Reed, Tames Gleason; Mrs. Williams, 
Emma Dunn; Mr, Morris, Frederick Burton; In- 
spector Moriaritx . Cliff Clark: Announcer. William 
Post, Jr. 

"BALL OF FIRE"— RKO Radio. Screen play 
bv Charles Brackett and Billv Wilder. Directed 
by Howard Hawks. Cast: Prof. Bertram Potts, 
Gary Cooper; Suaarpuss O'Shea. Barbara Stan- 
wyck; Prof. Gurkakoff. Oscar Homolka; Prof. Je- 
rome, Henry Travels; Prof. Magenbruch, S. J. 
Sakall; Prof. Robinson. Tully Marshall; Prof 
Quintana, Leonid Kinskey; Prof. Oddly, Richard 
Haydn; Prof. Peagram, Aubrey Mather; Garbage 
Man. Allen Tenki'ns; Joe Lilac, Dana Andrews; 
Duke Pastrami. Dan Duryea: Asthma Anderson, 
Ralph Peters: Miss Bratia. Kathleen Howard; 
Miss Mary Field; Lawyer, Charles Lane; 
McNeary, Charles Arnt; "Horseface". Alan Rhem. 

"BLUES IN THE NIGHT"— Warners. Screen 
plav by Robert Rossen. From a play by Edwin 
Gilbert. Directed by Anatole Litvak. Cast: 
Character. Priscilla Lane; Kay Grant, Betty Field; 
Jigger Pine, Richard Whorf: Del Davis, Lloyd 
Nolan; Leo Pozvell, Jack Carson; Brad Ames, 
Wally Ford; Nickie Haroyan. Elia Kazan; Pete 
Bossett, Peter Whitney; Peppi, Billy Halop; Sam 
Parvas, Howard da Silva; Blonde. Joyce Compton; 
Brakeman, Herbert Hey wood; Joe, George Lloyd; 
Barney, Charles Wilson; Drunk. Matt McHugh; 
A Barnstorming Band. Jimmy Lunceford and his 
band; A Guy Heiser's Band. Will Osborne and his 

"CADET GIRL" — 20th Century-Fox. Screen 
play by Stanley Rouh and H. W. Hanemann. 
Original storv by Jack Andrews and Richard 
English. Directed bv Ray McCarey. Cast: Gene 
Baxter, Carole Landis; Tex Mallory, George Mont- 
gomery; Bob Mallory, John Shepperd; Runt. Wil- 
liam Tracy; Mary Moore. Janis Carter; Walton, 
Robert Lowerv ; " Red, Basil Walker; Jimmy, 
Charles Tanner,: Benny Burns, Chick Chandler; 
Foo, Otto Han. 

Screen play by Leonard Lee and Keith W inter. 
Based on Ferenc Molnar's "The Guardsman." 
Directed by Roy Del Ruth. Cast: Karl Lang, 
Nelson Eddy; Maria Lanyi, Rise Stevens; Bernard 
Fischer, Nigel Bruce; Madame Helene, Florence 
Bates; Magda, Dorothy Gilmore; Liesel (maid). 
Nydia Wes'tman; Anton. Max Barwyn; Klementor, 
Charles Judels. 

"CONFIRM OR DENY"— 20th Century-Fox. 
Screen play by Jo Swerling. Based on the story 
by Henry Wales and Samuel Fuller. Directed by 
Archie Mayo. Cast: Mitch, Don Ameche; Jennifer 
Carson, Joan Bennett; Albert Perkins. Roddy Mc- 
Dowall; Captain Channing. John Loder; H. Cyrus 
Sturtevant, Raymond Walburn; Jeff, Arthur 
Shields; Mr. Hobbs, Eric Blore; Dorothy. Helene 
Reynolds; William. Claude Allister; M. I. Girl. 
Roseanne Murray; Johnny Dunne, Stuart Robert- 
son; Dasy, Queenie Leonard; Elizabeth Harding, 
lean Prescott"; Vpdyke, Alan Napier; Mr. Biudle, 
Billv Bevan; Sir Titus Scott. Lumsden Hare; 
Duffield. Dennis Hoey; Floorman, Leonard Carey. 

inal screen play by Lionel Houser. Directed by 
Norman Taurog. Cast: Judge Cornelia Porter, 
Rosa'ind Russell; Jeff Sherman. Walter Pidgeon; 
Judson M. Blair, Edward Arnold; Walter Cald- 
well, Lee Bowman; Dotty, Jean Rogers; Adele 
Blair. Mary Beth Hughes; Judge Graham, Guy 
Kibbee; Jane, Barbara Jo Allen; Raoul, Leon 
Belasco; Freddie. Bobby Larson; Wilton, Charles 
Coleman; Northcott, Thurston Hall. 

"GLAMOUR BOY" — Paramount. Original 
screen play by Bradford Ropes and Val Burton. 
Directed by Ted Tetzlaff. Cast: Tiny Barlow, 
Jackie Cooper; Jean Winslow, Susanna Foster; A. 
'J. Colder, Walter Abel; Billy Doran, Darryl Hick- 
man; Brenda Lee, Ann Gillis; Georgie Clemons, 
Jackie Seaile; Hank London, William Wright; 
Helen Trent, Katherine Booth; Papa Doran, Wil- 
liam Demarest. 

"H. M. PULHAM ESQ."— M-G-M. Screen 
play by Elizabeth Hill and King Vidor. From the 
novel by John P. Marquand. Directed by King 
Vidor. Cast: Marvin Myles, Hedy Lamarr; Harry 
Pulham, Robert Young; Kay Motford, Ruth Hus- 
sey; Mr. Pulham, Si.. Charles Coburn; Bill King, 
Van Heflin; Mrs. Pulham. Fay Holden; Mary 
Pulham, Bonita Granville: Mr. Bullard, Douglas 
Wood; W alter Kaufman. Charles Halton; Rodnev 
"Bo-Jo" Brown, Lief Erikson; Joe Bingham, Phil 
Brown; Hugh (The Butler), David Clyde; Miss 
Rollo, Sara Haden. 

A Kalamazoo 

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lFR?r DAY S 




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This Old Treatment Often 
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Many Bufferers relieve nagging backache quickly, 
once they discover that the real cause of their trouble 
may be tired kidneys. 

The kidneys are Nature's chief way of taking the 
excess acids and waste out of the blood. They help 
most people pass about 3 pints a day. 

When disorder of kidney function permits poison- 
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FARR T S F0R GRfl Y Hfl|R 

FEBRUARY. 1942' 1 ! 

nPURN the tables on "regular" pain ! Make 
•*■ the pain give in, while you carry on in 
active comfort. It's easy to do, as Midol has 
proved to millions of women 1 

Midol is offered for this one purpose — 
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these Midol users said they found it effective. 

If you have no organic disorder calling for 
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Without Calomel— And You'll Jump Out 
of Bed in the Morning Rarin' to Go 

The liver should pour 2 pints of bile juice into 
your bowels every day. If this bile is not flowing 
freely, your food may not digest. It may just de- 
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It takes those good, old Carter's Little Liver 
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Pain Sent Flying! 

Dr. Scholl's Zino-pads in- 
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"KATHLEEN"— MG-M. Screen play by Mary 
C. .McCall Jr. Based on a story by Kay Van 
Riper. Directed by Harold S. fiucquet. Cast: 
Kathleen Davis, Shirley Temple; John Davis. Her- 
bert Marshall; Dr. A. Martha Kent, Laraine Day; 
Lorraine Bennett, Gail Patrick; Mr. Schoner, 
Felix Bressart; Mrs. Farrell, Nella Walker; Dr. 
Montague Foster, Lloyd Corrigan; Jarvis, Guy 
Bell is; Policeman, Wade Boteler; Manager, 
Charles Judels; Maid, Else Argal; Margaret, 
Margaret Bert; Sign Poster, Joe Yule. 

"KEEP 'EM PLYING"— Universal. Screen 
play by True Boardman, Nat Perrin and John 
Grant. Original story by 
Directed by Arthur Lubin. 
Bud Abbott; Hcathcliff, 
Martha Raye; Barbara, 

Carol Bruce; Craig Morrison, William Gargan; 
Jinx Roberts, Dick Foran; Butch and Buddy. 
Themselves; Jimmy, Charles Lang. 

Edmond L. Hartmann. 

Cast: Blackie Benson, 

Lou Costello; Gloria, 

Martha Raye; Linda. 

Screen play by Jerome Chodorov and Joseph Fields. 
Based on the musical comedy by Morrie Ryskind. 
From a story by B. G. DeSylva. Directed by 
Irving Cummings. Cast: Jim Taylor, Bob Hope; 
Marina Von Duren, Vera Zorina; Senator Oliver 
P. Loganberry, \ r ictor Moore; Madame Bordelaise, 
Irene Bordoni; Beatrice, Dona Drake; Col. Davis 
Sr., Raymond Walburn; Thug, Maxie Rosenbloom; 
Davis Jr., Frank Albertson; Emmy-Lou, Phyllis 
Ruth; Police Captain Whitfield, Donald MacBride. 

Original story by Arthur T. Horman and Jerry 
Cady. Screen play by Frank Ryan and Bert 
Granet. Directed by Richard Wallace. Cast: 
Bridget Potter, Joan Carroll; Red Reddy, Edmond 
O'Brien; Linda Norton, Ruth Warrick; Charles 
McGregor, Robert Smith; Space O'Shea, Eve 
Arden; Prof. Gibney, Franklin Pangborn. 

"ONE FOOT IN HEAVEN"— Warners. Screen 
play by Casey Robinson. From the book by Hart- 
zell Spence. Directed by Irving Rapper. Cast: 
William Spence, Fredric March; Hope Morris 
Spence, Martha Scott; Mrs. Lydia Sandow, Betilah 
Bendi; Preston Thurston, Gene Lockhart; Eileen 
Spence, Elisabeth Fraser; Elias Samson. Harry 
Davenport; Mrs. Preston Thurston, Laura Hope 
Crews; Clayton Potter, Grant Mitchell; Dr. John 
Romer, Moroni Olsen; Hartzell Spence, Frankie 
Thomas; Dr. Horrigan, Jerome Cowan; John E. 
Morris, Ernest Cossart; Mrs. Morris, Nana 
Bryant; Eileen Spence (as a girl), Carlotta Jelm; 
Hartzell Spence (as a boy), Peter Caldwell; Fraser 
Spence, Casey Johnson. 

"PARIS CALLING" — Universal. Original 
screen play by Benjamin Glazer and Charles S. 
Kaufman. Original story collaboration by John S. 
Toldy. Directed by Edwin L. Marin. Cast: 
Marianne, Elizabeth Bergner; Nick, Randolph 
Scott; Benoit, Basil Rathbone; Colette, Gale Son- 
dergaard; Lance, Charles Arnt; Mouche. Eduardo 
Cianelli; Mme. Jannetier, Elizabeth Risdon. 

"PERFECT SNOB, THE"— Twentieth Century- 
Fox. Original screen play by Lee Loeb and Harold 
Buchman. Directed by Ray McCarey. Cast: 
Dr. Mason, Charlie Ruggles: Martha Mason, 
Charlotte Greenwood; Chris Mason, Lynn Bari; 
Mike Lord, Cornel Wilde; Alex Moreno, Anthony 
Quinn; Freddie Browning, Alan Mowbray; Nibsie 
Nicholson, Chester Clute. 

"PLAYMATES"— RKO-Radio. Original screen 
play by James V. Kern. Directed by David Butler. 
Cast: Kay Kyser, Himself; John Barrymore, Him- 
self; Conchita del Toro, Lupe Velez: Grandma, 
May Robson; Lulu Monahan, Patsy Kelly; Pete 
Lindsey, Peter Lind Hayes; Pennypacker, George 
Cleveland; and Kay Kyser's Band. 

"RISE AND SHINE - — Twentieth Century- 
Fox. Screen play by Herman J. Mankiewicz. 
Based on the book, "My Life and Hard Times" 
by James Thurber. Directed by Allan Dwan. 
Cast: Boley, Jack Oakie; Jimmy McGonigle, George 
Murphy; Louise Murray, Linda Darnell; Grandpa, 
Walter Brennan; Seabiscuit, Milton Berle; 
Menace, Sheldon Leonard; Professor Murray, 
Donald Meek; .Vomc, Ruth Donnelly; Colonel 
Bacon, Raymond Walburn; Coach Graham, Donald 
Mi' Hride; Mrs. Murray. Emma Dunn; President, 
Charles Waldron; Mrs. Robertson, Mildred Cover; 
Butch, William Haade; GoGo, Dick Rich. 

Screen play by Irving Breeder and Harry Kurnitz. 
From a story by Harry Kurnitz. Based upon the 
characters created by Dashiell Hammett. Directed 
by Maj. W. S. \*an DykeTI. Cast: Nick, William 
Powell; Nora, Myrna Loy; Paul, Barry Nelson; 
Molly, Donna Reed; Lieutenant Abrams, Sam 
Levene; "Whitey" Barrow Alan Baxter; Major 
Jason I. Scullcy, Henry O'Neill; Nick, Jr., Dickie 
Hall; Claire Porter, Stella Adler; "Link" Stephens, 
Loring Smith; Stella, Louise Beavers. 

"SULLIVAN'S TRAVELS" — Paramount. 
Screen play by Preston Sturges. Directed by Pres- 
ton Sturges. Cast: John L. Sullivan, Joel McCrea: 
The Girl, Veronica Lake; Mr. LeBrand (Head of 
Studio), Robert Warwick; Mr. Jones. William 
Demarest; Mr. Casalsis. Franklin Pangborn; Mr. 
Hadrian, Porter Hall; Mr. Valdelle, Byron Foul- 
ger; Pretty Secretary, Margaret Hayes: The Doc- 
tor, Torben Meyer; Sullivan's Butler, Robert 
Grieg; Sullivan's Valet, Eric Blore; Mr. Carson 
(the sheriff), Al Bridge; Miz Zeffie, Esther How- 
ard; Ursula, Almira Sessions; Tough Chauffeur. 
Frank Moran; Old Bum, George Renevant. 

"SWING IT, SOLDIER"— Universal. Original 
screen play by Dorcas Cochran and Arthur V. 
Jones. Directed by Harold Y'oung. Cast: Jerry 
Trainor, Ken Murray; Pat Loring, Frances Lang- 
ford; Evelyn Loring, Frances Langford; Brad, 
Don Wilson; Maxwellton, Hanley Stafford; 
Clementine, Susan Miller, and Brenda and Cobina, 
Skinnay Ennis and his band; Kenny Stevens; 
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O'Sullivan; Boy, John Sheffield; Professor Elliott, 
Reginald Owen; O'Doul, Barry Fitzgerald; Med- 
ford, Tom Conway; Vandermeer, Philip Dorn. 

"TEXAS" — Columbia. Screen play by Horace 
McCoy, Lewis Meltzer and Michael Blankfort. 
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William Holden; Tod Ramsey, Glenn Ford; "Mike'' 
King, Claire Trevor; Windy Miller, George Ban- 
croft; Doc Thorpe, Edgar Buchanan; Sheriff, Don 
Beddoe; Tennessee, Andrew Tombes; Matt Lashan, 
Addison Richards; Comstock. Edmund MacDonald. 

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win; Samuel Bacon, Esq., Gene Lockhart; Crazy 
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hugh Lee, Regis Toomey; Callie, Hattie McDaniel: 
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(Continued from page 60) slipped out of 
her hand for a time, she didn't have the 
money to go back. And finally, after she 
was definitely established at RKO, they 
worked her like a steam shovel. So much 
so that when, after many cancelled New 
York vacations, someone tried to com- 
miserate- with her, she got off her now 
classic crack: 

"Oh, but I am getting a vacation, hadn't 
you heard? They let me sit down now 
between scenes!" 

Under the department of Lowest Mo- 
ments, Lucille says: "Mine was the day 
Mother, Fred and Dad (as she calls her 
grandfather) came to live with me out 
here. Sounds inhospitable, doesn't it? 
But you see, I'd just been fired and we 
were all supposed to live on the fruits of 
my first contract. As soon as Columbia 
had given it to me, I had wired for the 
family. But the studio closed down its 
stock company and we were all out — 
Ann Sothern, Gene Raymond, a bunch 
of us. I had to go and borrow some 
money before I could meet the family 
at the train." 

Luckily RKO decided to put on "Rob- 
erta" with a promising new dance team, 
Fred Astaire and Ginger Rogers, and 
Lucille bagged herself a bit as a dress 
model, her Hattie Carnegie technique 
making her a natural. This resulted in 
her first RKO contract — "Fifty bucks a 
week," she will tell you without batting 
one lush eyelash. 

The RKO ladder hasn't been a dizzy- 
ing one in point of speed. It took a lot 
of pictures to win her her first good 
comedy break in "That Girl From Paris" 
in which she got a chance to take a 
couple of high kicks winding up in a 
split, all done by the aid of soaped shoes. 
Came "Stage Door" and a few more well- 
timed sock lines and presently — if you 
could call two years later "presently" — 
"Dance, Girls, Dance." Unquestionably 
the role of the burlesque queen in that 
picture has been Lucille's best to date, 
though there is much bating of breath 
around the lot these days over the pic- 
ture they whisper will make her a full- 
blown star, "Passage From Bordeaux," 
the film on which William L. Shirer of 
"Berlin Diary" fame is acting as technical 
director. Meantime she's doing very all 
right in "Valley Of The Sun." 

DUT Lucille wouldn't tell you that 
■^ "Dance, Girls, Dance" or "Valley Of 
The Sun" or even "Passage From Bor- 
deaux" was her greatest break. Because 
it was on "Too Many Girls" that she met 
Desi Arnaz. And a rare meeting it was. 
They had their first look at each other 
in the studio commissary and the mo- 
ment was one of instant and mutual 

Asked if Lucille considers herself a 
hunch girl, one of those creatures who 
has an infallible first impression of her 
fellow man, Lucille says, "I should say 
not! Look at Desi. I did just that — gave 
him a look — just one good long one — 
and said to myself, 'Am I normal or can 
this really be the Cuban sensation that 
has knocked New York night life out 
of its floor show seats?" 

In all justice Desi was looking like 
anything but a glamour boy at the mo- 
ment. He was dirty and perspiring in a 
greasy old leather jacket. The immac- 
ulate ebony hair comb was aimed in all 
directions. In fact, Desi had been re- 
hearsing some football tricks for "Too 
Many Girls." 

On the other hand, Desi matches Lu- 
cille for off-the-beam first impressions. 
He took one look at her as she breezed 




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into the room in «n evening gown, bur- 
lesque style, with a white fox coat to the 
ankles in the best Broadway bad taste, 
her hair a mess, her face scratched up 
with one eye prominently blacked — a 
too perfect make-up job — and said "Ca- 
ramba!" or its Havana equivalent. Lu- 
cille, you see, had been staging her 
battle with Maureen O'Hara in "Dance, 
Girls, Dance." 

Three hours later, bathed and groomed, 
they met on the steps of the RKO Little 
Theater where George Abbott had issued 
a call for the cast of the picture in 
which they both were to be. Desi, look- 
ing every inch the Latin Launcelot, 
flashed a smile at the apparition of 
preaches and cream and gold. "Haven't 
we met somewhere?" 

CROM that point they continued to 
' meet with ever-increasing frequency. 
The picture was finished. Desi was 
scheduled to go back to New York for 
personal appearances and a winter's job 
at Miami. Lucille was tied down with 
picture commitments. They knew they 
wouldn't see each other for a year. 
Miserably they pulled up at a drive-in 
stand one night and tried to comfort 
each other by recounting all the reasons 
that a marriage between them simply 
wouldn't work. 

So Desi left for Manhattan and Lucille 
was sent out by the studio on a personal 
appearance tour. Then the wires began 
to hum. More specifically, they began 
to explode. Desi was distinctly unhappy 
with Lucille so far away from him. At 
length George Schaefer, head of RKO, 
picked up his Cupid's bow and arrow 
and the long distance phone and called 
Lucille where she was playing in Mil- 
waukee. "Why don't you take a run 
down to New York," he suggested. Just 
as if he didn't know Desi was appearing 
at the Roxy Theater there! 

The result was a morning dash by 
Lucille and Desi to Greenwich, Con- 
necticut, and a marriage license. There 
was no time to get a regular wedding 
ring, so Desi tore into a Woolworth's 
and bought his beautiful bride a ten 
cent ring. Lucille wears it to this day, 
along with the stunning square-cut dia- 
mond band he gave her on their second 
honeymoon. Oh, yes, they're having a 
series of honeymoons because each one 
has been interrupted prematurely, ac- 
cording to their notion of time. They've 
had five so far and they seem in a fair 
way to be celebrating a permanent one 
on their new North Ridge ranch in San 
Fernando Valley. 

THE house is California ranch style and 
' they chose it because the five acres 
on which it stands were virtually un- 
planted, even to the swimming pool, now 
a dream come true. This gave them an 
opportunity to leave the stamp of the 
Arnaz personalities in developing the 
flora and fauna. Regarding the latter, 
three canines have figured prominently, 
the Duke of North Ridge, Pinto the Great 
and Sir Thomas of Chatsworth (the name 
of the street on which they live) . Then 


one night what might be called an alley I | 
cat, except that a cat would have to go a 
mighty long way to see an alley in th se ' 
parts, barged into the menage and, ' 
promptly became the Duchess of DevonJ 
shire, to be augmented later by Queer. ie. 
another peregrinating feline. 

Prize poultry has been installed, a 
hundred or more birds, and the 
breakfast table now sees its own hon.e- 
grown eggs at a mere twenty cenu i 

As for the flora, Desi and Lucrlk 
planned to kill two birds with one rock, j 
by giving a housewarming consisting i 
tree party (each guest brings a tree) ifl- i 
honor of the dogs. But tragedy struck}; | 
The Duke of North Ridge sickened and 
died, so the party had to be postponed) ; 
So did the trees. 

Contrary to the usual Hollywood stop 
of the men who make a star's career, ii 
is to four women Lucille is especially 
grateful. Two of these are Ginger Roger? 
and her mother Lela who, in her ca-t j! 
pacity as head of the studio dramatic 
school at that time, taught Lucille most 
of what she knows about acting. Lela 
Rogers never had a more ardent student. 
When other glamour kids were making 
up excuses to cut classes because of a, . 
too-late party the night before, the Bait' " 
girl was there with eyes aglow. thankfHi 
for the chance. 

Claudette Colbert is the third. Lik 
has never more than met Miss Colben [ 
on social occasions. Yet again and again 
word has come back to her that ha«?!= 
right ear should have been burning be-, j 
cause at dinner the night before, at the L 
Zanucks, for instance, Claudette wail- 
singing her praises as one of the mania 
promising younger stars. Or at a pre-ll 
miere with the Sam Goldwyns. Or wheri ; 
she was visiting Louis B. Mayer a' L 
Metro. Just one of those things thayl. 
re-established your faith in Hollywoodllll 

Last but not least is Carole Lombardjll! 
Their first encounter was when Lucilkg. 
had wandered over to a friend's for din-jl 
ner in her favorite article of appareLjl 
slacks, when who should walk in but thtj I 
Gables. After one startled gulp the RKC 
comedy bombshell — and we mean LujJ 
cille — froze up like a Nesselrode puddingj 
too scared to open her mouth. Not sflij ) 
Carole. She plopped herself down be-li i 
side Lucille, told her what a future tha.1. 
believed she had and exactly what i-ht 
should do about the next steps in hell 
career. Lucille followed that counsel to* 
her everlasting gratitude. 

Then shortly after Desi and Lucille re- J 
turned to Hollywood as newlyweds, thejJ 
were having dinner at Dave Chasen's anrjli 
spied the Gables at another table. Nofl 
wishing to intrude, the two Arna e. 
gaped and grinned at their idols like twdl 
dumbstruck fans. Presently the Gabieil 
waved gaily at them and before therm 
could catch their breath over came a castfl 
of champagne as a wedding present fronm 
Clark and Carole. 

So perhaps you can understand whjl 
Lucille has decided it's a swell world ill 
you keep on laughing. 

The End 



To the readers who have written us — and written us . . . For a 
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Brief Reviews 

(Continued from page 19) 

tiling new in the way of shuddery villainy and 
Peter Lorre is his accomplice. (Jan.) 

y MEN IN HER LIFE, THE— Columbia : Conrad 
Yeidt is a retired dancer who makes of ambitious 
Loretta Young a world-famous ballerina. In 
gratitude, Loretta marries him, renouncing John 
Shepperd, who's a handsome newcomer. The music. 
the exquisite dancing and the glamour and excite- 
ment of backstage life have been captured and 
projected by director Gregory Ratoff. (Jan.) 

MERCY ISLAND— Republic: When attorney Ray 
Middleton and his wife, Gloria Dickson, are swept 
ashore in the Florida Keys and he discovers 
fugitive surgeon Otto Kruger hiding there, he 
becomes obsessed with the desire to return Kruger 
to justice. All three of the principals are quite 
good. (Jan.) 

When Leon Errol has a little war orphan brought 
over from Europe, he hopes it will fix things up 
with the troubled marriage of Lttpe Velez and 
Buddy Rogers. The baby turns out to be a glamour 
girl, but the story gets duller and unfunnier. (Dec.) 

MOONLIGHT IN HA WAII— Universal : Leon 
Errol and Richard Carle feud over a radio show 
and try to marry wealthy widow Marjorie Gateson, 
but it's Mischa Auer who finally gets her. The 
Merry Macs, Johnny Downs and Jane Frazee all 
float through the mild little story. (Jan.) 

MR. CELEBRITY— Producers Releasing Corp.: A 
young veterinarian, James Seay, takes his nephew. 
Buzzy Henry, to Celebrity Farm to hide out from 
his grandparents and so retain his custody. There 
he encounters Francis X. Bushman, Clara Kimball 
Young and Jim Jeffries, who'll bring you nostalgic 
memories. It's sentimental, but lively and heart- 
warming, and young Buzzy is outstanding. (Dec.) 

— Universal: In this picture Bill Fields attempts 
to sell a screen story he has written to a producer. 
In real life, he sold this one to Universal, but 
we don't know why because it isn't funny and it 
makes no sense. Gloria Jean is a bright spot in 
the dull business and Franklin Pangborn swipes 
a few scenes. (Jan.) 

<y NEW YORK TOWN — Paramount: Fred 
MacMurray, a sidewalk photographer in New York, 
shows naive New Englander Mary Martin how to 
live off the town. But when he tries to marry her 
off to prosperous Robert Preston, he learns that all 
the best things in life are free. Akim Tamiroff and 
Lynne Overman aid MacMurray in this enchanting 
comedy. (Nov.) 

NIAGARA FALLS— Roach -U. A.: In spite of Slim 
Summerville and Zazu Pitts' determined comedy 
efforts as the honeymooning couple who come to 
Niagara, the picture's not funny. Slim neglects his 
bride to meddle in the affairs of quarrelsome Tom 
Brown and Marjorie Woodworth. (Dec.) 

In spite of its bewhiskered story, Bob Hope makes 
this picture a laugh-provoking winner. He bets 
$10,000 of Paulette Goddard's money that he can 
tell the truth for twenty-four hours. Howls of 
laughter are the result. (Nov.) 

• OUR WIFE — Columbia: All about one husband. 
Melvyn Douglas, and his troubles with two women, 
one an ex-wife, Ellen Drew, and the other his fiancee, 
scientist Ruth Httssey. Charles Coburn is Ruth's 
father, also a scientist, and John Hubbard her non- 
scientific brother It's got a lot of laughs (Nov.) 

OUTLAW TRAIL. THE— RKO-Radio: Intend- 
ing to aid in a bank robbery, young Tim Holt turns 
hero instead when he aids the marshal in catching 
the robber band and when the marshal dies, Tim 
takes over his job and stays a good boy from there 
on it. Fans are sure to like Tim. (Dec.) 

PITTSBURGH KID, THE— Republic : The usual 

prize-fight picture, this, relieved in its monotonous 
plot by the casting of Jean Parker as the manager 
of fighter Billy Conn. You're going to be agreeably 
surprised at Billy, who's not half bad as a screen 
personality. Jean's a cute trick, too. (Dec.) 

REG'LAR FELLERS— P. R. C. : The cartoon 
i strip characters, played by Billy Lee, Alfalfa 
Switzer and Buddy Boles, are back again for an- 
other series of fun It's a picture for kids (Nov ) 

SAILORS ON LEAVE— Republic: Sailor Bill 
Lundigan s pals try to marry him off before a 
certain date so he can collect an inherifaTice. They 
pick night-club singer Shirley Ross as the girl, 

but Shirley hates sailors and Bill doesn't 
to get married, which leads to many comical 
interludes, mostly supplied by Chick (handler and 
Cliff Nazarro. It's a cute movie. (Jan.) 

mid-RKO: Scattcrgood Bainrs. the small-town Mr. 
Fix it played by Guy Kibbee, helps William Henry, 
the village playwright, outwit Frank Jenks and 
Bradley Page and present a smash Broadwaj 
cess. Its homey flavor is embellished by some 
bright comedy and corny but good gags. (Nov.) 

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lit, Mich. 

Downs, aided by Jane Frazee, tries to get 
lege show on Broadway, but villainous Walter 
Catlett and his voluptuous co-worker, Iris Adrian, 
throw a monke wrench into the works. (Dec.) 

SK YLARK— Paramount: Claudette Colbert is the 
dissatisfied wife who leaves her devoted husband, 
Ray Milland, because his business entanglements 
prove too annoying. Brian Aherne is miscast as the 
other man in her life, but Milland and Walter Abel 
win our hearty approval. (Dec.) 

SMI LIN' THROUGH— M-G-M: Jeanette Mac- 
Donald has the dual role of the bride who loses 
her life and as her own niece years later; and 
Gene Raymond also plays a dual role as the 
rejected suitor and his son. Brian Aherne is mis- 
cast. For Jeanette's fans only. (Jan.) 

SOUTH OF TAHITI— Universal: Here we are 
again, back in the old South Seas, with Brian 
Donlevy, Broderick Crawford and Andy Devine 
as a trio of pearl robbers who reform in order to 
thwart Henry Wilcoxon and his gang. (Jan.) 

yf SUNDOWN — Wanger: Sustained action is the 
keynote of this story of a British government out- 
post in Africa. Bruce Cabot as Commissioner of the 
post steals most of the honors, and George Sanders 
also shines, as does Gene Tierney as the beautiful 
half-caste. (Dec.) 

\S SUN VALLEY SERENADE— 20th Century- 
Fox: Sonja Henie is a Norwegian refugee adopted 
by band player John Payne, who's in love with 
Lynn Bari, the band singer. When the orchestra 
goes to Sun Valley, Sonja goes along, determined 
to marry John. Sonja's enchanting and her skat- 
ing numbers are excellent. (Nov.) 

\/y SUSPICION— RKO-Radio: A triumph of 
direction and acting is this emotional, suspenseful 
masterpiece about a naive English girl, Joan 
Fontaine, who falls in love and marries Cary Grant, 
only to discover his worthlessness. Then dread and 
suspicion enter their lives and desperation brings 
on fearful consequences. (Dec.) 

\/ SWAMP WATER— 20th Century-Fox: A 

vivid picture, this, of the simple people living near 
the swamps of Georgia. Dana Andrews penetrates 
the dangerous swamp in search of his lost dog; 
finds Walter Brennan, an escaped murderer, living 
there and learns of his innocence. Anne Baxter, 
Walter Huston, Mary Howard and Virginia Gil- 
more are all excellent performers. (Jan.) 

SWING IT, SOLDIER— Universal : For radio- 
minded fans, this gives you Ken Murray as a 
rookie who mistakes singer Frances Langford for 
her married twin, Don Wilson, Brenda and Cobina, 
and Skinnay Ennis and his band. The music is 
good and Frances sings several numbers. (Jan.) 

TANKS A MILLION— Ha\ Roach-U.A.; This 
small-size panic is all about a draftee, a former 
railway information clerk, William Tracy, who 
annoys his superior officers by spouting from mem- 
ory long passages from the Army manual. James 
Gleason is the enraged officer and Elyse Knox the 
eye-filler. But it's Private Tracy's picture. (Nov.) 

^ TARGET FOR TONIGHT— Warners release 
of a British Gov't, film: Its tremendous simplicity 
and straightforward honesty in telling make this 
story of boys in the R.A.F. one of the strongest 
war documents ever filmed. It tells the story of a 
raid on Nazi oil tanks by English bombers and 
boys of the R.A.F. and officers of the station are 
the only actors. Dramatic and suspenseful. (Jan.) 

THIS WOMAN . IS MINE— Universal: Lus- 
cious Carol Bruce is a stowaway on a trading ve? 
sel during the 18th Century with John Carroll, 
Franchot Tone and Walter Brennan all on the ship! 
The only exciting moments in the picture are the 
last scenes depicting the conflict between the India: s 
and the white men. (Nov.) 

TILLIE THE TOILER— Columbia: First of a 
new series, this introduces Kay Harris, who is pert, 
pretty and talented and makes an ideal Tillie. Wil- 
liam Tracy is Mac, Jack Arnold the smug 
Whipple, and Daphne Pollard Mumsy. It flounders 
around a bit due to poor writing and direction, but 
give Tillie time. (Nov.) 

lumbia: Trite, corny and uninspired is this story of 
a night-club press agent, Joan Davis, who substitutes 
her roommates Jinx Falkenburg and I 
bury, a song and dance team, for two Cuban enter- 
tainers who failed to arrive. Of course, everything 
gets very complicated. (Dec.) 

You'll undoubtedly enjoy this gay movie about 
small-town girl Irene Dunne who meets and 

in love with debonair Preston Foster who prompt! -.- 
forgets her. Out of spite she marries his brother, 
Robert Montgomery. (Nov.) 

• WEEK END IN HAVANA— 20th Century- 
Fox: Frothy, gay and tuneful is this typical / 
musical. The featherweight plot has New York 
girl Alice Faye enjoying a Havana vacation a 
expense of a steamship company and a romanc 
executive John Payne. Carmen Miranda's 

are hot-pepperish. (Dec.) 

\/\/ WHEN LADIES MEET— M-G-M: A star- 
studded picture, this, smart and entertaining. 
Robert Taylor is in love with authoress Joan Craw 
ford who is in love with publisher Herbert Mar: 
who is married to Greer Garson with obvious com- 
plications. Both the girls do splendid jobs, but Bob 
Taylor walks away with every scene. (Nov.) 

M-G-M's new prize comedian Red Skelton pi 
himself a prize indeed as the radio crime story 
writer who's kidnapped by Conrad Veidt in order 
to create a perfect crime for Mr. Veidt. It's corn, 
we admit, but it's funny and gay. (Nov.) 

WILD GEESE CALLING— 20th Century-Fox: 
Henry Fonda is the boy with wanderlust who 
meets Joan Bennett, waterfront chorus girl, and 
marries her. But he follows disreputable Warren 
William to Alaska and meets disillusionment before 
he finally finds contentment. It's slow and aimless 
and dull, and Bennett is thoroughly miscast, i I 

WORLD PREMIERE— Paramount: John Barry- 
more is a movie producer who takes the c; 
his movie, including Ricardo Cortez as the star 
and Virginia Dale the heroine, to Washington for 
the world premiere. It should be funny, but it 
turns out to be very unfunny. (Nov.) 

\/ YANK IN THE R.A.F., A— 20th Century-Fox: 
An exciting and timely show, with Tyrone Power 
as the fearless, cocky American who joins the 
R.A.F. and woos night-club dancer Betty Grable on 
the side. The scenes in the R.A.F. provide tre- 
mendous interest. (Dec.) 

Fred Astaire is a rookie recruited from the ranks • : 
dance directors and when Fred goes to can-. . 
Robert Benchley tries to wreck his romantic pla; - 
with dancing cutie Rita Hayworth. It's ga> 
amusing and Rita is the best dancing partn'- 
Fred's had since Ginger Rogers. (Jan.) 

Merrymaking at the Mocambo for service men: Michele Morgan dances 
with Sergeant Pasternaki; Marie Wilson takes over Private Guston. 
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Ida — the Mad Lupino 

(Continued from page 53) softly after 
a while. 

"We've been sitting in front of it for 
the last half-hour," Louis said. 

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together as a personality; she emerged, 
as does the picture in a jigsaw puzzle 
when you fit two or three pieces into 
their proper places and find you've got 
a herd of cows, or The Flying Dutchman. 
Except that Ida turned out to be a far 
more exciting picture; to the surprise 
of everyone, including her studio bosses, 
her delighted agents, even Connie and 
Louis, she became a really fine actress. 
On the screen, she metamorphosed her 
pure Cockney self into a neurotic little 
American slut, for "They Drive By 
Night," accent and all, to perfection. She 
did "High Sierra," and her mother and 
husband all but fell out of their seats at 
the preview, in sheer astonishment. 

She did "Ladies In Retirement," with 
Louis. That's in your neighborhood 
theater now, probably. You can go see 
it, to know what I mean. 

Along with normal adjustments and 
growing up, the new success wrought its 
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wife, as well. 

She was still a little dramatic about 
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All and each the most important thing 
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signs, and wants them to come out even). 
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She finds it extremely hard, on an in- 
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history. That is because she has spent 
so many years trying to make events 
match with the essential lie about her 

Outside of these things she leads as 
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There, too, any sensitive observer will 
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about to be done; and he will be right. 
The End. 

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The Shadow Stage 

(Continued from page 24) 

^ The Chocolate Soldier 

It's About: A jealous husband who tests 
the fidelity oj his capricious wife. 

THE big news of this gay song fest is a 
' brown-eyed young charmer from the 
opera, Miss Rise Stevens, who becomes 
Nelson Eddy's singing partner in the 
chuckle-laden story of "The Guards- 
man" set to the Oscar Strauss music of 
"The Chocolate Soldier." 

Another news flash emanating from 
this movie is the clever acting of Mr. 
Eddy who gives his very best per- 
formance since "Naughty Marietta." Per- 
haps the change of pace, as well as change 
of partners, accounts for Mr. Eddy's easy, 
natural manner, to say nothing of his 
surprising gift for comedy. As the mar- 
ried operetta star who tests the loyalty 
of his wife, Miss Stevens, Nelson is most 
amusing. He accomplishes this little trick 
by donning the whiskers and attire of a 
Russian baritone and then making love 
to his wife. 

The music is out of this world. "My 
Hero," the hit of the original "Chocolate 
Soldier" show, and "Evening Star" from 
"Tannhauser," the beautiful Strauss 
melodies, plus a few of Mr. Eddy's best 
loved selections, are sung in harmony 
with the story. 

Nigel Bruce and Florence Bates are 
incidental, but nice incidentals, to the 

Your Reviewer Soys: A musical hit. 

Keep 'Em Flying (Universal) 

It's About: Two cronies bottleneck a naval 
training school. 

I T was bound to happen! Those funny 
' men, Bud Abbott and Lou Costello, 
have hit an air pocket in their too con- 
stant movie-making and zoomed down 
to a point one mile this side of nothing. 

The boys are given a thin, anemic story 
with little of the humor that has packed 
their other stories. That the picture is 
nothing to shout about is certainly not 
the fault of the boys. The story simply 
isn't there and what there is of it is 
constantly interrupted with the singing 
of Carol Bruce (badly photographed) 
and her romantic interludes with Dick 
Foran, who also sings at odd moments. 

The twin -sister routine played by 
Martha Raye missed a mile for our 
money. Martha's bag of tricks seems 
oddly shoddy these days. 

But make no mistake, despite these 
faults, the boys will rate cheers per 
minute simply because they have en- 
sconced themselves so thoroughly under 
the public's funny bone. Several of the 
gags are most amusing, indeed, such as 
the torpedo on the loose and the boys 
on their own in the air. 

Your Reviewer Says: Funny men in a not- 
so-funny story. 

The Perfect Snob 
(Twentieth Century-Fox) 

It's About: A socially ambitious mama 
and a carpet-slipper dad. 

SOMETHING old. nothing new, some- 
thing borrowed and the audience 
blue! That about sums up this little 
wedding -march tale of a small -town 

debbie who marries, against her am- 
bitious mama's wishes, a young man 
who (wouldn't you know it?) turns out 
to be rich. Cornel Wilde, a newcomer, 
is the lucky man. 

Charlotte Greenwood hardly seems the 
calculating mama type, but Charlie Rug- 
gles, as take-it-easy Pop, is just right in 
his role. Why Lynn Bari was tossed into 
this little pot stew we'll never know. 

Oh well, it means well and tries hard, 
this little moom pitcher, so maybe we 
shouldn't be too hard on it. 

Your Reviewer Says: We'd rather throw 

Obliging Young Lady 

It's About: The odd position of a child 
caught between two dissenting parents. 

JOAN CARROLL is the below teen- 
•* age youngster who was permitted 
(pardon the understatement) to loiter 
about under contract to Twentieth Cen- 
tury-Fox Studios, so as to offer no com- 
petition to their starlet, Shirley Temple. 
Tired of the seclusion, Miss Carroll took 
herself to RKO; made a hit in "Primrose 
Path," moved on to New York to startle 
the customers in "Panama Hattie." 

We give you this short resume of her 
activities because one day we feel Joan 
will be news. 

This movie is not the screen success 
we hoped it would be for Joan. It has 
her a hoydenish youngster taken by a 
friend of her parents to a secluded resort 
while her parents battle things out in 
court. Needless to say, Joan, the im- 
possible, makes life hot for everyone, 
including reporters Eve Arden and Ed- 
mond O'Brien, who is sweet on Ruth 
Warrick, Joan's custodian. 

While it's nothing to write home 
about, it has its moments and Joan keeps 
things lively, that we promise. 

Your Reviewer Soys: Fair enough but not 
good enough. 

Playmates (RKO-Radio) 

It's About: The efforts of two press 
agents to place their clients on the radio. 

TAKE Kay Kyser and his band, plus 
' John Barrymore and his grimaces, add 
Ginny Simms (Barrymore should love a 
girl called Ginny) gone glamorous and 
stir in, just for the fun, Patsy Kelly, Lupe 
Velez, May Robson and Peter Lind Hayes 
— and what have you got? 

If you ever find out, let us know, for 
never have we witnessed such a con- 
glomeration of tomfoolery and nonsense. 
As near as we could fathom, press agents 
Patsy Kelly and Peter Lind Hayes are 
"skumming schemes," as Amos and Andy 
say, to land their clients John and Kay 
on the air. They end up in a debauched 
Shakespearean spree that is mighty 
touching in some spots and mighty bor- 
ing in others. 

Kyser's peculiar talents for non-acting 
are a perfect balance for Barrymore's 

The music is delightful, Ginny beauti- 
ful, May Robson cute as the grand- 
mother and what more do you want for 
your money? 

Your Reviewer Scys: A combination salad 
— with ham. 

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Swing It, Soldier (Universal) 

It's About: A rookie who mistakes a 
singer for her married twin. 

D ADIO personalities move in bag and 
^ baggage to a cozy home in movie- 
town and proceed to entertain and at 
times amuse. Ken Murray is a likeable 
dumb-bunny soldier who carries a mes- 
sage from a rookie pal to his wife who is 
going to have a baby. Of course, Murray 
meets the single twin sister instead of the 
married sister and, well — you can 
imagine the amazement of Miss Frances 
Langford, who plays the dual role, at 
some of Mr. Murray's remarks. 

The music is good. Frances sings sev- 
eral numbers, especially the old favorite, 
"Melancholy Baby," as only she can. 
Don Wilson, recruited from the Jack 
Benny show, and Blanche Stewart and 
Elvia Allman (Brenda and Cobina) are 
fugitives from Bob Hope's program. 

Skinnay Ennis and his band, another 
Hope asset, provide some swell swing. 

For those who are besieged with curi- 
osity to see radio names take on life, 
this may have a special appeal. Other- 
wise it's just a movie. 

Your Reviewer Says: For radio-minded 
fans only. 

^ Texas (Columbia) 

It's About: The fate of two boys who 
travel ivest after the Civil War. 

TEXAS" is one of the best Westerns 

' we've seen in a long time and for two 
very good reasons, namely — Glenn Ford 
and William Holden. If these boys aren't 
the two best younger actors in the busi- 
ness then we miss our guess. Their work 
is a joy to behold and to them goes the 
credit for lifting "Texas" into the "y° u 
should see" class. 

The story has the two boys trekking 
westward after the Civil War, each to go 
his separate way. Ford takes the high 
road; Holden, the low unlawful path. He 
joins up with cattle rustlers bent on 
keeping the ranchers' cattle from reach- 
ing Abilene, Kansas, the legitimate mar- 
ket. Ford, of course, is on the side of 
the ranchers. More antagonism grows 
between the boys when both fall in love 
with the same girl, Claire Trevor. 

There's a lot of punch injected into the 
story with a stampede that's a lulu, a 
shooting-iron climax and an old-time 
prize fight that's a honey. 

Edgar Buchanan, as the unscrupulous 
dentist who pulls molars while hatching 
his deviltry (he's a dentist in real life, 
too), is terrific. 

To get away from the eternal near- 
comedies, why not give yourself a change 
and a treat and see "Texas." You can't 
go wrong. 

Your Reviewer Says: An A Western, load- 
ed with talent. 

" Rise And Shine 
(Twentieth Century-Fox) 

It's About: The attempts of a gangster 
to kidnap a football star. 

THOSE fans who are eager to laugh 
at the slightest excuse will have that 
opportunity to indulge in their favorite 
sport when "Rise And Shine" comes to 
town. While not the best comedy ever 
made by a long, long way, the picture 
still has enough bright spots to coax 
forth the chuckles. 

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Jack Oakie is marvelous as the dumb- 
hunky football star who is the saving 
grace of his college team. Sent to observe 
the star's condition by a betting gangster 
is George Murphy, himself an ex-all- 
American. The gangster bets as Murphy 
predicts until the final game when the 
gambler attempts to kidnap Oakie and 
place all his money on the opposing team. 

With Murphy on his odd mission are 
Ruth Donnelly and Raymond Walburn. 
This pair, along with Milton Berle and 
Walter Brennan as a wooing old 
"Gramps," add to the confusion. 

The best we've saved until the last 
(at least she's the prettiest) and that my 
friends, is Linda Darnell, cheerleader 
and daughter of an eccentric old pro- 
fessor, Donald Meek. 

Youngsters, we think, will love the 
goings-on and who are we to say oldsters 
won't, as well? 

Your Reviewer Says: College chi-chi. 

^ One Foot In Heaven (Warners) 

It's About: The struggles of a young 
Methodist minister and his wife. 

A QUIETLY beautiful story is this one 
** of the young Canadian doctor who is 
converted overnight and enters the min- 
istry. With his bewildered bride, Martha 
Scott, Fredric March as the preacher be- 
gins his work in a small Iowa village 
under the most adverse circumstances. 
Together they travel from church to 
church, living in one undesirable par- 
sonage after another, their faith holding 
them together through the years. 

The dream of his life is realized when 
the minister is able at last to build his 
own church. 

Incidental homey events concerning 
his children, his congregation, his home 
life, dot the story with gems of human 
interest. March is ideal as the minister 
and Martha splendid as the wife. 

Frankie Thomas and Elisabeth Fraser 
are the children. 

Your Reviewer Soys: A warm, tender 

Tarzan's Secret Treasure 

It's About: The jungle man routs a band 
of greedy interlopers. 

THE great Tarzan series has developed 
into adventure yarns more suitable to 
children's taste than to adults'. The 
scenes have become repetitious and need 
an injection of clear originality to pep 
up the vine-swinging capers of Mr. Big 
Outdoorsy, played as usual by the bel- 
lowing Johnny Weissmuller. 

This time a party of scientists, includ- 
ing villainous Tom Conway and Philip 
Dorn, kidnap Tarzan's wife (Maureen 
O'Sullivan) and son (John Sheffield) in 
order to force the jungle giant into re- 
vealing the location of an enormous gold 
vein. The climax is thrilling, with ele- 
phants and alligators and savages in a 
grand melee of revenge. 

Your Reviewer Soys: A whooper-dooper for 
the kids. 

^ Shadow Of The Thin Man 

It's About: The suave detective unravels 
a race-track murder mystery. 

WELL, here's that man again, calmly 
cooking the goose of crooks and 
murderers and having a wonderful time 
during the process. Myrna Loy is still 
the playful helpmate of our charming 
sleuth Nick Charles, played as ever by 
William Powell. They are delightful, gay 
people, this pair, but their charm and 
gaiety are beginning to seem a bit repeti- 
tious if you ask us. Enough is too much 
sometimes; one is beginning to wonder 
when the Charles family is going to quiet 
down, if ever. 

This time detective ' (retired — oh 
yeah?) Charles is on his way to a race 
track where he discovers a jockey has 
been killed. Later a reporter is killed 
under peculiar circmstances and Nick is 
right on the scent as usual. The unravel- 
ing of the mystery takes Mr. and Mrs. 
Smartypants and the audience through 

Favorite of the 
back-lot gang is 
"Tarzan's Secret 
Treasure." Johnny 
Weissmuller plays 
Tarzan; Maureen 
O'Sullivan is Mrs. T.;. 
John Sheffield is 
the chip off the old 
brawn; monkey 
Cheeta plays her 
own inimitable self 

innumerable alleyways of laughter and 

The police detectives are, as usual, 
portrayed as dumb ignoramuses who 
couldn't catch a fly with molasses, let 
alone glamour girl Stella Adler and the 
usual array of gangster types. Dickie 
Hall is the Charles's offspring, a cute 
youngster and a chip off the old block 
if ever we saw one. 

Your Reviewer Says: Murder written to 
swing time. 

^They Died With Their Boots 
On (Warners) 

It's About: The lije and times of General 

WHOOPER-DOOPER "mellerdram- 
mer" is woven into the life pattern 
of an American figure, General George 
Custer, and the result is rousing enter- 
tainment. The story depicts the life of 
Custer from the time he entered West 
Point, a fantastic figure in braid and 
brass buttons, followed by a trail of 
hound dogs, to his heroic death at the 
hands of battling Indians on the Western 

His romance with and marriage to 
Olivia de Havilland add the necessary 
colors to the completed tapestry. Olivia 
has never been so beautiful, to our no- 

Through his cadet days and his brave 
deeds in the Civil War and back to his 
home in Michigan we follow George 
Custer. Then comes his appointment to 
take over the Seventh Cavalry, stationed 
near Fort Lincoln. When Custer arrives, 
drunkenness, disorder and rowdiness 
mark the life of the soldiers within the 
fort. Under his guidance, it emerges a 
crack cavalry regiment which bravely 
rides with Custer to their death in one 
last stand against the Indians. 

Anthony Quinn is very good indeed 
as the Sioux chief Crazy Horse. Charles 
Grapewin as the old codger who never 
quite gets to "Californey," John Litel as 
General Phil Sheridan, villainous Arthur 
Kennedy and Walter Hampden lend 
splendid support. 

For those who love a good rousing 
story here it is. Under its swooping 
sway we may even forget that under 
no circumstances could Errol Flynn be 
termed a "damned Yankee." 

Ycur Reviewer Says: America on 
movie march. 



* Blues In The Night (Warners) 

It's About: A small dance band that falls 
heir to trouble in an infamous roadhouse. 

"DLUES IN THE NIGHT" is an odd, 
D sultry, moody and tempestuous sort 
of picture with men's emotions set to the 
throbbing music of Jimmy Lunceford's 
band. It serves as a vehicle to introduce 
to movie fans Richard Whorf. the young 
stage actor who has been associated in 
the past with Lunt and Fontanne. That 
he is a definite, distinct personality can- 
not be denied. In fact, we predict Mr. 
Whorf will very shortly become a star 
of the very first magnitude. Priscilla 
Lane and Betty Field share equal glorj 
for their strong, outstanding perform- 

The story tells of six young people, 
up from the deep South, eager to play 
the blue music in their souls. Whorf. 
who plays Jigger, is the pianist whom 
Priscilla Lane, wife of musician Jack 
(Continued on page 110) 

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Str Your 
Doctor Rrfutariy 

(Continued from page 108) Carson, se- 
cretly loves. They finally land an engage- 
ment at a notorious roadhouse run by 
gangster Lloyd Nolan. Gutter rat Betty 
Field soon entices Whorf away from his 
band, then tosses him over. When she re- 
turns for more deviltry, Wally Ford, 
another of Betty's victims, arranges a 
very neat and quite horrible revenge. 

It sounds queerly somber and it is 
queerly somber. But it's interesting, 
beautifully acted and the music is al- 

Your Reviewer Says: A fascinating low- 

"H. M. Pulham Esq. (M-G-M) 

It's About: The traditional smu&iess of 
a died-in-the-wool Bostonian. 

CRANKLY disappointing, is our candid 
' opinion of the movie version of John 
P. Marquard's best seller. Robert Young 
as Pulham, the man who hasn't the 
stamina to break away from the tra- 
ditional smugness that holds him to the 
old ways of life, is ideal and for his splen- 
did performance, for the careful direc- 
tion, the playing of Ruth Hussey as Kay 
Motford, the sterling performance of 
newcomer Van Heflin who plays King. 
we hand out our one-check approval. 

Perhaps we're wrong — we have been 
in the past, heaven knows — but it seems 
to us a woman as beautiful as Miss 
Lamarr should listen to her producer's 
pleas to remain beautiful, alluring, sexy 
and "Algier-ish." We already have too 
many fair actresses and no beauty so rare 
as Hedy's. 

Your Reviewer Says: Rather heavy in 
theme and execution. 


Design For Scandal (M-G-M) 

It's About: A double-crossing news pho- 
tographer and a beautiful judge. 

WHEN female judges become as beau- 
tiful as Rosalind Russell, we predict 
a crime wave the likes of which this 
country has never seen. 

Roz's beauty and charm are the undoing, 
alas, of nervy news photographer Walter 
Pidgeon who sets out to double-cross 
Judge Roz at the instigation of his boss, 
Edward Arnold, who wants his alimony 
reduced. Pidgeon and Arnold believe 
that if the judge herself can be embroiled 
in a little underhanded scandal she may 
listen to reason. Pidgeon, therefore, is 
out to provide the scandal, only Miss 
Russell catches on in time. But not be- 
fore Mr. News Photographer is a dead 
Pidgeon, as far as his heart is concerned. 

The whole mess ends in a very funny 
courtroom farce with Guy Kibbee a 
screamingly funny judge. 

Lee Bowman, Mary Beth Hughes and 
Barbara Jo Allen get caught up in the 
nonsense that is meant to be entertaining 
fun and achieves its purpose. 

Your Reviewer Says: A blues chaser. 


Babes On Broadway (M-G-M) 

It's About: The attempts of amateur kids 
to crash Broadway. 

YOU'VE seen this musical over and over 
again — it's the same old story of would- 
be actors finally hitting the big time — 
but still we must admit that Mickey 
Rooney and Judy Garland do manage to 
instill freshness into it. 

Mickev, Ray McDonald and Richard 


Quine have an act they haven't been ab.e 
to get very far with and, of course, tht:r 
main ambition is to get on Broadway. 
Judy Garland and a group of Settlement 
House kids sidetrack them for a while. 
but Mickey and Judy put on a show to 
raise money to send the kids to the 
country, a big producer, James Glei- 
son, sees the show and everything turr.s 
out all right. Not surprised, are you? 

Mickey's impersonation of Carmen Mi- 
randa is one of the high spots of the 
picture; Judy's singing and Ray Mc- I 
Donald's dancing are always delightful; 
and Fay Bainter is charming as the thea-- 
rical producer's assistant. The production 
numbers are staged with the lavishn 
characteristic of all M-G-M musics 
and you'll undoubtedly get some fun ou 
of most of the proceedings, though som 
of them are pretty corny. 

Your Reviewer Says: For Garland ar.d 
Rooney fans. 

Cadet Girl 
(Twentieth Century-Fox) 

It's About: A West Point cadet and a 
beautiful blonde. 

THERE'S not much to shout about, but 
■ if you think that little detail prevented 
the makers of and participants in th:s 
little number from not only shouting but 
waving around the red, white, and blue 
like mad, you are right out of your mind. 
In fact, so loud is the shouting, duty to 
Uncle Sam overcomes love and romance. 

George Montgomery is a West Pointer 
who falls in love with Carole Landis, a 
singer with his brother's orchestra. They 
decide to marry even if it means George s 
expulsion from the famous training 
school. To bring Cadet Montgomery to 
his senses, his musician brother composes 
a rousing song, "Uncle Sam Ge - s 
Around," and Cupid, alas, goes down for 
the count of nine. 

Good music, good looks and some spe- 
cial bits of acting here and there keep 
the picture lively at least. And is thai 
Montgomery handsome in uniform! 

Your Reviewer Says: An Uncle Sammy 

^ Glamour Boy (Paramount) 

It's About: A star who is a has-been r.t 

MARK this down right now in your 
little date book as a movie worth 
seeing come rain, shine, thunder or 
lightning. It's not a great big smash- 
eroowoo, remember, but it's good, it s 
cozy, it's appealing and it's loaded with 
human interest. What's more, it has 
Jackie Cooper playing a semifactual role 
in experiences that somewhat parallel h:s 

Once a famous child star, Jackie, now 
ignored, is called in by a studio to coach 
a new child star, Darryl Hickman (a 
real Quiz kid), in a remake of Jackie s 
former hit, "Skippy." 

In the meantime. Jackie meets and 
falls for Susanna Foster, gets himself into 
plenty of grief and gradually emerges 
with a bracing new viewpoint, while 
smug little Hickman slips into a suit of 
human kindness. 

Walter Abel's singing over the tele- 
phone to little Timmie Hawkins. Su- 
sanna's warbling and Jackie Cooper s 
viewing himself in "Skippy" are the high- 
lights of this little breath of spring. 

Your Reviewer Says: A goodie. 

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Mrs. Alexander Cochrane Forbes, 

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Miss Eleanor 1' 'rotbingham, Boston 

Mrs. John Hylan Heminway, New York 

Mrs. Alexander Ilixon, California 

Mrs. Martin Osbom, California 

Ml Louis Swift, Jr., Chicago 

Mrs. Oliver De< iraj \ indi rbilt III, 


Mrs. Kiliaen M. Van Rensselaer, 


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MARCH, 1942 



















ishedln j i%J% [ 

space t *.; 

The greatest 

star of the 


When the going got toughest, Abe Lin- 
coln said, "With the fearful strain that 
is upon me night and day, if I did not 
laugh I should die." 

• • • • 

The screens of Amer- -.W^L'.' AV.'^li ' / 

ica provide enter-_ 

tainment for all. The- 1 

movies started as a ■ 

novelty, learned not 

to flicker and learned 

how to talk. They were developed by 

Americans and conquered the world 

with their merit. 

• • • • 

Go to your favorite theatre. There are 
many fine films from all movie com- 
panies. Sometimes they miss, sometimes 
they hit, but the average is high. 

• • • • 
Metro-Goldwyn-Mayer is the leading 
producer of movies. There are more 
M-G-M stars than there are stars of 
all the other companies combined. 

• • • • 

You have seen the recent films, 
"H. M. Pulham, Esq." (Lamarr-Young- 
Hussey), "Woman of the Year" (Tracy- 
Hepburn) and "Johnny Eager" (Taylor- 
Turner). If you haven't, they are still 
playing some place. 

• • • • 
Each in its way is a masterpiece. 

• • • • 


Now we should like to recommend 

Were Dancing", 

which is based in 

part on the Noel 

Coward playlets 

called "Tonight at 

8:30" — starring 

Norma Shearer, 

Melvyn Douglas. 

'Mrs. Miniver", 
based on the novel 
by Jan Struther, 
starring Greer 
Garson and Wal- 
ter Pidgeon. 
• * 
This screen play is 
by James Hilton, 
author of "Good- 
bye Mr. Chips" and R. C. Sherriff, 
author of "Journey's End." An excit- 
ing collaboration. 

MARCH, 1942 

VOL. 20, NO. 4 

Uncle Sam, you can count on me. 


Advertisement for Metro-Goldwyn-Mayer Pictures 


Executive Editor 

combined -with 

00 n EEL EEl QD EH 


Associate Editor 


Mickey Rooney Picks a Wife Sara Hamilton 26 

Ann Sheridan's Surprise Marriage Gladys Hall 28 

"You've Got To Believe Me!" Will Oursler 30 

Any other woman, hearing those words, would have reacted just as Caryl Winslow 

Hollywood Meets the War Challenge Louella O. Parsons 34 

A scoop story on the stars' inside wartime activities 

The Girl with a Hundred Faces Ida Zeitlin 38 

A story that packs a big surprise — by the name of Rosemary DeCamp 

"I'm No Cinderella Boy" Robert Stack speaking 41 

My Own Super-Superlative Awards for 1941 Hedda Hopper 42 

This witty columnist has some ideas along the Academy-Oscar lines 

Strangers in Arms Marian Rhea 44 

Private lives of Michele Morgan and Paul Henreid, Hollywood's new romantic team 

How to Be a Social Success Ouida Bergere Rathbone 47 

Different kind of party talk from Basil Rathbone's social-success wife 

Valentines from Benny Dennis Sprague 48 

Jackson goes tender in public — enough said! 

Three Little Maids in Movies 50 

An intriguing just-we-girls picture of Susan Peters, Ann Edmonds and Jean Ames 

This Above All Fiction version by Norton Russell 52 

An exciting special preview of Twentieth Century-Fox's picture of the year 

Garbo Finds Herself Rilla Page Palmborg 54 

A new and daring plan of life prescribed for the great star by an eminent 

Jackie Had a Friend Named Mabel Adele Whitely Fletcher 62 

An insight into Jackie Cooper's life that will have you applauding him heartily 

The Truth about Hollywood Casting "Fearless" 65 


Robert Stack 40 


George Sanders 46 

Loretta Young 64 

Color Portraits of 

These Popular Stars: 

Barbara Stanwyck 33 

Veronica Lake 36 

James Cagney 37 


Close Ups and Long Shots — Just Picture Yourself 22 

Ruth Waterbury 4 Lady Fare 56 

The Shadow Stage 6 March Mode-Makers 57 

Inside Stuff— Cal York 8 Star Finds in the Stores 109 

Speak for Yourself 18 Dried and True 110 

Brief Reviews 20 Casts of Current Pictures 112 

COVER: Bette Davis, Natural Color Photograph by Paul Hesse 

PHOTOPLAY combined with MOVIE- MIRROR is published monthly by MAC! VJDDEN PUBLK VTIONS l\c. 
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Treasurer; Walter Hanlon. Advei I I . ,, dices. 122 E. 42nd St., New ,..ik N. Y. I Inc. its' 

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Member of Maefaddeu Women's tiroup 
Copyright, 1042. by Mncfaddcn Publications, Inc. 

The contents of ibis magazine may not be reprinted either wholly or In part without permission. Kegrisiro 

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Punted In I . S. A by \n Color Printing Co.. Dunellen. N. J. 

photoplay combined with movie mirror 

Metro - Goldwyn - Mayer 






ANP THerR£6ooDArjor»- 



Produced by JOSEPH L. MANKIEWICZ • Screen Play by Ring Lardner, Jr. and Michael Kanin 

MARCH. 1942 



Joel McCrea puts himself 
into the Gary Cooper 
class in "Sullivan's Trav- 
els" with Veronica Lake 

Claudette Colbert gives a "supreme" performance with 
John Payne and Douglas Croft in "Remember The Day," 
blend of gentle tears and chuckling laughter 

a rare 

HOLLYWOOD, under war condi- 
tions, is a strangely changing 
place . . . the windows of all 
the Brown Derbys are painted over 
with dark brown paint so that not so 
much as a glimmer of light steals 
forth . . . the studios are all on a 
new schedule . . . eight to five . . . 
which makes Hollywood even more of 
an early-to-bed town than it is nor- 
mally (and it has always folded up 
around ten o'clock despite those glit- 
tering photographs you see from 
Ciro's, the Mocambo and such 
spots). . . . 

These new, earlier hours are an 
attempt to dodge the blackouts but 
two sets of movie workers suffer 
slightly because of them . . . the stellar 
girls must now rise by five, if they are 
to be on the sets, made up, by eight 
and this in turn means that the hair- 
dressers must crawl, with carefully 
shaded lights, through that darkest 
hour before the dawn to see that the 
glamour girls have every curl in place, 
war or no war. . . . 

There will be no more location trips 
to photograph backgrounds, no more 
premieres of big pictures, no more 
night previews of mere average pic- 
tures until we have won this battle of 
freedom . . . the location trips are off 
because all the "wild" spots in and 
around . . . those locations which for 
years have been anything from the 
forest primeval to the hills of Shangri- 
La to the movie-makers . . . are now 

The beguiling Dumbo rides merrily 
on the high road to bigger and 
better wartime smile entertainment 


Army encampments . . . besides, no 
studio wants to have its valuable stars 
even five miles away from town. . . . 

The premieres are off because 
their vivid lights and massed crowds 
would be veritable invitations to 
air-raiders and because all parades 
of luxury are in bad taste now . . . 
the color is completely departed from 
the previews and they are being held 
in the afternoons in those dreary little 
studio projection rooms which the 
trade has always called "sweat boxes" 
. . . but even the reviewers, chronic 
grumblers, are not grumbling now . . . 
complaining is in bad taste, too, and 
moreover nobody wants to be travel- 
ing miles and miles merely to cover 
some "B" offering. . . . 

Even the locations that were merely 
on the "back lot" of the various studios 
. . . those "standing sets," those "for- 
eign streets," those "steamship piers" 
(complete with "standing" waves and 
"standing" steamers), those "rivers" 
and "jungles" ... all have been moved 
inside the sound stages for safety's 
sake. . . . 

Yes, Hollywood under war condi- 
tions is strangely changing, yet in one 
sense it is becoming only more its self 
. . . just as it is really an early-to-bed 

town it is also really a worker's town 
and now it is becoming more so . . . 
the visitors are gone . . . gone from 
the sets . . . gone from the restaurants 
. . . gone from the colony itself . . . 
the closing of Santa Anita did some 
of that . . . the closing of all sets to 
everyone except the actual studio 
personnel or the working press did the 
rest of it . . . the only "outsiders" you 
see in Hollywood these days are 
officials from Washington. . . . 

There are scores and scores of 
Washington visitors but you may not. 
as Lt. Col. Joseph F. Battley told me, 
"expect this to be a glamour war'' 
. . . Washington wants enlistments in 
all ranks . . . technicians, particularly, 
the art directors who know so much 
about camouflage, the writers for prop- 
aganda work, and such . . . but it 
wants no Garbo in overalls, posing as 
the Spirit of Armament ... no Rita 
Hay worth flashing her legs and her 
smiles as the Spirit of Our Flag . . . 
Washington has asked Hollywood . . . 
and will be receiving from Hollywood 
. . . films of American history . . . in- 
struction shorts . . . the making of 
diagrams, posters and the like ... in 
terms of actual man power many have 
been called and many have been 
chosen . . . you probably will not see 
Second Lt. Stewart back again 
on the (Continued on page 91) 

photoplay combined with MOVIE mirror 

The most side-splitting, 
surprise-full adventure you'll 
see this year ... a remarkable 
picture about a remarkable guy , 











Directed by STUART HEISLER • Novel and Screen Play by Dalton Trumbo 
A Paramount Picture 



A reliable guide to recent pictures. One check means good; two checks, outstanding 

Rowdy, rollicking satire: Ann Sheridan, 
Richard Travis, Bette Davis and Monty 
Woolley in "The Man Who Came To Dinner" 

Knockout performances in a knockout, 
realistic motion picture: Lana Turner 
and Robert Tayior in "Johnny Eager" 

*" The Man Who Came To 
Dinner (Warners) 

It's Abouh A world-renowned sophis- 
ticate who takes over a Midwest 

WHAT "The Little Foxes" was to 
drama, "The Man Who Came To 
Dinner" is to comedy. Every bit as 
good as the play that rocked Broad- 
way and hinterland audiences for two 
years is this rowdy, rollicking and, at 
times, bitter satire. 

The audience laughed so long and 
so loud many of the rare verbal tid- 
bits were lost. Bette Davis is, of 
course, splendid as secretary to Sheri- 
dan Whiteside, the man who came to 
dinner. Richard Travis, as the young 
newspaper man, is a winner all right. 

Ann Sheridan does a grand job as 
the actress. Jimmy # Durante as 
"Banjo," Billie Burke and Grant 
Mitchell as the unwilling hostess and 
host of the nasty old tyrant, George 
Barbier as the doctor, are outstanding. 
But a bit by Reginald Gardiner all 
but steals the show. 

All characters are drawn from life, 
so have fun guessing who's who while 
you are yelping with delight. 

Your Reviewer Says: An eight-course 
banquet of delight. 

The Best Pictures of the Month 
Johnny Eager 

The Man Who Came To Dinner 
Joan Of Paris 

Best Performances 

Robert Taylor in "Johnny Eager" 

Van Heflin in "Johnny Eager" 

Douglas Fairbanks Jr. in "The 
Corsican Brothers" 

Olsen and Johnson in "Hellza- 
poppin' " 

Monty Woolley in "The Man Who 
Came To Dinner" 

Claudette Colbert in "Remember 
The Day" 

Paul Henreid in "Joan Of Paris" 

Michele Morgan in "Joan Of Paris" 

^ Johnny Eager (M-G-M) 

It's About: A hard-hearted gangster 
who discovers that love and death 
walk hand in hand. 

BOB TAYLOR scores a knockout 
performance as a conscienceless 
mobster who covers his crooked deal- 
ings by reporting regularly to his 
parole officer and, on the surface, liv- 
ing respectably as a taxi driver. 

Beneath that front, he's a mean 
killer, utterly incapable of under- 
standing man's better nature until he 
meets Lana Turner, a society girl and 
daughter of Attorney Edward Arnold. 
Even then his meanness takes its 
natural course when, in order to keep 
Arnold from exposing him, he frames 
Lana into believing she has murdered 
a man. But, in an ironic twist of plot, 
he gets his come-uppance. 

Van Heflin, as his only true friend, 
almost steals the show — and he must 
be good to rob Taylor of one iota of 
glory, Bob's that socko. Frankly, we 
like Lana better in "slitchy" roles: 
but, even so, her performance here is 
proof la Turner can act. 

Everyone in the cast shines in his 
role and, while the theme is repel- 
lently real, it's a tremendous picture. 

Your Reviewer Says: A lam to the 
heart. (Continued on page 95) 


photoplay combined with movie mirror 

Get ready 


thrilling new love team! 

MARCH, 1942 

Oni>ide Stuff 






A why-people-gasped picture: Ginger 
Rogers and her ex-husband Lew Ayres 
show up and start more tongues wag- 
ging at the Russian Relief concert 

Lou Costello and Bud Abbott finally 
make it — that is, they leave their 
immortal imprints in the cement of 
the forecourt of Grauman's Chinese 


DRAMA — First Act: For some time 
past Cary Grant has been quietly 
taking the rap with news photogra- 
phers for raising old Ned every time 
the boys came near the actor and Bar- 
bara Hutton. Now it seems Barbara 
herself is to blame and has come for- 
ward and admitted it to the camera 
lads, which changes the complexion of 
things a bit. We never could believe 
Cary capable of temperament, having 
always found him gracious and 


By the way, someone reports having 
seen Cary and Carole Landis at the 
beach amusement centers several 
times. Must be a mistake. But think 
now, whom does Miss Landis resem- 
ble? Sure, Phyllis Brooks.- And whom 
does Phyllis more than resemble? Of 
course, Virginia Cherrill. now the 
Countess of Jersey and Cary's first 
wife. Several friends still insist Vir- 
ginia was Cary's one true love. 

Drama — Second Act: Phyllis Brooks 

John Howard and Hedy 
Lamarr see each other, 
but they're seldom 
seen by the public. 
Brown Derby luncheon 
scene shows up Hedy 
in her favorite off- 
screen attire — slacks 
and a kerchief tied 
over her braided hair 

couldn't help but see us sitting there, 
but she obviously didn't care a whoop, 
for the telephone conversation went 
right on. 

We don't know who was on the 
other end, but our ears certainly 
pricked up (we weren't eavesdrop- 
ping, for we simply couldn't get away) 
when Phyllis said: "Oh. I'd love to see 
you. I suppose you'll be going to 
Cary's. Yes, he's giving a party. How 
I'd love to go, but. you see, I can't on 
account of (Continued on page 10) 

photoplay combined with movie mirsob 

"9-letter word meaning Social Suicide" 

GOT you stumped, has it? Well, try 
" again, Buttercup. It's a word you, in 
sarticular, ought to Know about. Here we 
rome with a little help . . . and do you need it. 

Suppose you start with an "H". Now 
Irop in an "A". Next, try an "L", as in 
'love" — and wouldn't you like a little 
)f that! 

There! You've made a start. At this 
joint may we suggest an "I". You know, 
'I" as in "it" — which you haven't got or 
rou wouldn't be sitting at home of a 
Saturday night doing crossword puzzles. 

In the next space try a "T". We're get- 
ing places. Now an "O". That gives you 
T-A-L-I-T-O. Only three more letters and 
'ou'll have the answer. 

In that next space slip in an "S" — could 
|;tand for "seductive" in your case but for 

one thing. But let's get on..; 

Put in another "I" as in "idea" — which 
you're going to get in just a second. 

Now end it up with another "S" and 
Lady, you've got it. 

Got what? The answer to your puzzle, 
and more important still, perhaps the 
answer to why your dates are so few . . . 
why boys don't stick around . . . why 
you're sort of "on the shelf." 

It's halitosis (bad breath) — the 9-letter 
word for Social Suicide. Halitosis is the 
offense that no one overlooks and that 
anyone may commit at some time or other 
without realizing it. 

Of course there's often something you 
can do about it . . . something you ought 
to do about it if you want others to like you. 

To make your breath sweeter, more 
alluring, less likely to offend, use Listerine 
Antiseptic . . . every night and every morn- 
ing, and before any date at which you 
want to appear at your best. Never . . . 
never! . . . omit this delightful precaution. 

Why Listerine Does It 

While sometimes systemic, the fermenta- 
tion of tiny food particles on tooth, gum, 
and mouth surfaces is the major cause of 
halitosis (bad breath), according to some 
authorities. Listerine Anti- 
septic quickly halts such 
fermentation, then over- 
comes the odors that fer- 
mentation causes. 
Lambert Pharmacal Co. 
St. Louis, Mo. 

Before any engagement let Listerine look after your breath 

SlARCH. 1942 

jRl>i(k Stuff 

Hard nut to crack at a 
sweet charity meeting was 
Jean Arthur who, at the Los 
Angeles Community Chest 
get-together, refused to pose, 
was caught in a flash with 
her husband by Hymie Fink 



There's a tantalizing 'come-hither' note 
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use IRRESISTIBLE lipstick 

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smoother 10« 

Community talk at the 
committee meeting at 
the Biltmore Bowl was 
loud and long at the 
Norma Shearer-Edward 
Arnold end of the table 

(Continued from page 8) Barbara. 
Oh, no, she wouldn't have it. It's silly, 
for I wouldn't mind a bit, but Barbara 

All of a sudden we felt we had 
glimpsed a familiar situation from an 
entirely new angle. Cary Grant, 
Barbara Hutton and Phyllis Brooks 
had somehow all switched places and 
Phyllis was suddenly the leading lady 
in the little drama that had so in- 
trigued Hollywood. She was no 
longer the pathetic little ex-sweet- 
heart she had seemed. Maybe she 
never had been. But you know how 
Hollywood interprets an off-with-the- 
old - love - and - on - with - the-new-one 

As we looked more closely, we dis- 
covered Phyllis had even taken on a 
new beauty, a new assurance and cer- 
tainly a new lease on her career. 

We remembered someone's having 
told us that the philosophy of her good 
friend, playwright William Saroyan, 
was responsible for her ditching for- 
ever the torch she had been carrying 
for Cary. Now here she is gay, for- 
giving and, so it seems, completely 

Who will be the winner in the 
finale of this little drama, we wonder. 
Let's hope all three will find exactly 
what they're seeking. 


Charity Calling: We've said it be 
fore and we say it again — there's no 
place like Hollywood to respond to 
worthy call for help. 

The Los Angeles Examiner's yearly 
benefit to buy Christmas baskets for 
the poor brought out the stars in 

Red Skelton, Bob Hope and Rudy 
Vallee got together for a little gabfest 
before the show — and try buying that 
array of talent for peanuts. Mickey 
Rooney, with his fiancee Ava 
Gardner, won tremendous applause^ 
Mickey and Skelton put on a great: 
act together. 

Cary Grant and Pat O'Brien 
couldn't get away from the Megli 
Kiddies and Cary was especially 
drawn to little Billy Lee and Roddy 
McDowall of "How Green Was My 
Valley" fame. 

It was great to see Bette Davis am 
Monte Blue, a onetime big star, to 

Four famous profiles, Cesar Romero 
Tyrone Power, Jimmy Durante anc 
John Carradine. were in collar-ad 
evidence. George Montgomery anc 
Roy Rogers seemed more than pleased 
with Rita Hayworth. 

As usual, it was a wonderful Holly- 
wood turnout, with stars in the sky 
on the stage and on all the flags. 

photoplay combined with movie mirroh 

Are These Your Choice?: If you 

were to choose the ten most popular 
men and women stars of 1941, whom 
would you select? Well, Feg Murray, 
of "Seein' Stars" fame, made a news- 
paper canvass from coast to coast and 
in Latin America, and here are the 
results, given in the order of the 
canvass: Men: Gene Autry, Tyrone 
Power, Clark Gable, Errol Flynn, 
Spencer Tracy, Nelson Eddy, John 
Payne, Don Ameche, Robert Taylor, 
Mickey Rooney. Women: Bette 
Davis, Sonja Henie, Betty Grable, 
Alice Faye, Dorothy Lamour, Judy 
Garland, Deanna Durbin, Jeanette 
MacDonald, Olivia de Havilland, 
Linda Darnell. 

One notices Jimmy Stewart's ab- 
sence from the screen has left his 
name only a memory. Gene Autry 
had thirty-three per cent more votes 
than his runner-up, Tyrone Power. 
The top four women stars in popular- 
ity are blondes. Odd that Lana Turner 
failed to make the list for the year. 

More than 400 different players re- 
ceived votes, while Hollywood itself 
limits its star rating to about fifty 
people. Interesting, too, is the rise of 
newcomer John Payne. 

At any rate, it's the people's choice 
and it's the people who make or break 
the stars. 

The Winnah: Ginger Rogers let fly 
with a right hook and caught Helene 
Fortescue Reynolds squarely on the 
chin. Helene, in turn, hooked a left 
to Ginger's blue eye, which brought 
an even more perfect uppercut to 
Helene's amazed jaw. 

Finally, Director Bill Wellman 
called "Cut" and the two girls started 
out of the scene, panting, when an 
onlooker on the "Roxie Hart" set 
stepped over and held up Ginger's 

What's a charity meeting without 
a blonde — two of them, in fact? 
Anne Shirley, Marjorie Woodworth and 
Roy Rogers do their committee stuff 

"I'm in the Dog-House— 
the Boss has "Fire 7 in his Eye! 


Ada: And you can't guess why you're in 
the dog-house, Jane? Well my pet, you're 
decorative to the eye, and you're a speed 
demon for work. But, Jane, you're guilty 

of one careless, unforgivable little fault! 
Jane: Now don't "underarm odor" me— or 
friendship ceases. You know I'd rather skip 
breakfast than miss my morning bath! 

F~ r J 


7 J / ■'-'■ 




Ada: Foolish girl— why trust your bath to 
last all day! Use speedy Mum under each 
arm— if you want to stay flower-fresh! 
Jane: So that's why the perfect secretary is 
withering on the job. I am ashamed! 

• - half a minute — 
W „m takes l»* ^ for hours'. 
keeps uade^s^ atmodor) 

Wu m P reventS n n e rspiration. 

M „m won't »"»",,„ tod ay! 
harm clothes. Get M 

Jane: (later) Mum's marvelous for my 
speedy morning routine! 30 seconds and 
I'm through. And business day or gala eve- 
ning, I'm free from worry— safe from of- 
fending. And the boss is smiling these days! 


-A &ntle. de- 

For Sanitary ""1*^ a "musf S«r 
UdabUdf^: S m thi s uay, too. 
this purpose, try 


Takes the Odor Out of Perspiration 



Paul Whiteman opens at the Flor- 
entine Gardens; musical-minded 
Kay Kyser, Ginny Simms and Rudy 
Vallee yodel him a big welcome 

Barbara Stanwyck rises to the oc- 
casion, bows to the Gardens cus- 
tomers. Gary Cooper and her hus- 
band Bob Taylor do some handwork 

"You've got the best feminine 
uppercut I've ever seen," he said with 

Ginger looked at him, puzzled. The 
man laughed. "I'm Gene Tunney," 
he said, "and I'm glad I gave up 
fighting before you took it up." 

Ginger is as pleased as punch. 

That's Telling Them, Girls: Well, the 
gals of the Hollywood Women's Press 
Club got themselves together for a 
little voting on the most co-operative 
and nonco-operative stars in Holly- 
wood, Bette Davis and Bob Hope 
winning the co-operative prizes 
hands down. On the wrong side of 
the fence are Ginger Rogers and Fred 
Astaire as booby-prize winners for 
nonco-operation with the press. 

Among the most nonco-operative 
femmes as voted by the club before 
its final decision were Ginger Rogers, 
Marlene Dietrich and Jean Arthur. 
The men were Fred Astaire, Ronald 

Colman and Bing Crosby. 

When Ginger was asked her opinion 
of the decision she said, "I have noth- 
ing to say, except that I seem to be 
listed among some nice people. . . ." 

Here is what the others said: 

Fred Astaire: "They should have 
respect for my age." 

Marlene Dietrich: "I thought I had 
co-operated with everybody, but pos- 

Top: "Coop" gives a handout. 
Directly above: Taylor, with 
the Coopers, does a ditto act 

sibly I was so overrun with men re- 
porters that I didn't give enough time 
to the ladies." 

Bing Crosby: "If they mean I'm 
losing my hair, that isn't my fault." 

Ronald Colman: "Can I help it if 
I'm dull?" 

Jean Arthur, as usual, wouldn't 
even talk to anyone about it. 

Among the most co-operative were 


photoplay combined with movie mirror 



Orchids-and-bliss picture of 
Milton Berle and bride Joyce 
Mathews. The Berles — plus Mama — 
now live in the Tom Mix mansion 

listed Bette Davis, Rita Hayworth, 
Ann Sheridan. The men were Bob 
Hope, Clark Gable and Robert Taylor. 

A small golden-apple lapel pin was 
given to Bette Davis (see page 72) 
and a golden-apple script marker to 
winner Bob Hope. Incidentally, Bob 
Hope won the Hollywood photogra- 
phers' award for the most photo- 
generous star in the business. 

Now you know how inside Holly- 
wood feels about certain stars. 

Home-Wrecking Annie: "Never have 
your picture taken with a stranger," 
has become Ann Sheridan's New 
Year resolution. It was brought about 
when Annie received a curtly worded 
letter, with a snapshot enclosed, from 
a Chicago woman. The snapshot was 
a picture of Ann which included the 
woman's husband. 

The letter read: "My husband has 
been boasting that he met you socially 
when he went to California on busi- 
ness. I know he's lying and that he's 
just trying to make me mad because 
he mentions it only when we're 
around friends," and closed with a 
plea for help. 

Ann had to think a long time about 
that picture. Then she recalled one 
night at an ice rink a stranger had 
snapped a picture of her while another 
strange man was standing close by. 

She wrote and explained that fact 
to the Chicago wife and then wrote 
out her resolution. 

Thisa and Thata: Loyalty is one of 
Hollywood's chief charms. It was dis- 

MARCH, 1942 


you discover the secret of bath- 
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that adorns your skin with a pro- 
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"// - , - 

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leave your skin enticingly, alluringly scented 
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Cashmere Bouquet is one perfumed soap 
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NOW YOU'RE TALKING! Smart girls like you 
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YOU REALIZE there's no finer complexion care 
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it's one perfumed soap that can agree with 
your skin! Be smart . . . get a half dozen 
cakes of Cashmere Bouquet Soap — today! 

Cashmere Bouquet 



C xcitinc as a date with your 
\^J) "one and only". . . thrilling as 
his good-night kiss— this wonderful 
discovery of hidden beauty you may 
never have realized your hair pos- 
sessed. And it's magic-like Colorinse 
that imparts this glamorous loveli- 
ness. Colorinse that brings out the 
warmth of color in your hair— gives 
it a brighter, richer tone— a softer, 
silkier sheen that rivals the lustre 
of the stars themselves. You'll wonder 
how you ever were content with dull 
drab-looking hair when you discover 
how quickly Colorinse makes it 
look and feel entrancingly different. 
Colorinse— in 14 flattering shades— 
at beauty counters everywhere, lor a 
lovelier hair-do- use Trestle Shampoo before 
and Nestle Superset after Colorinsing. 

In I Of! and 

jnh'm Stuff 

Pennies for the 
poor from a show 
by million-dollar 
stars: Bob Crosby, 
Bette Davis and 
Monte Blue join 
forces with . . . 

. . . Red Skelton, 
Bob Hope and Rudy 
Vallee, show up to 
show off at the 
Los Angeles Exam- 
iner's yearly 
charity event 

played in its true colors when old 
maestro Paul Whiteman opened at the 
Florentine Gardens and all the big- 
name stars, including Bob Taylor and 
Barbara Stanwyck, Gary Cooper and 
his wife, turned out in Paul's honor. 
Dorothy Lamour is drooping over 
her broken romance with attorney 
Greg Bautzer. Friends hope Dottie 
and Greg will get together soon. At 
any rate, the Navy, who have chosen 
Dottie as their favorite gal, gave three 
cheers over the news. 

Rockabye Hollywood: The year 1941 
will go down in cinema history as the 
year of births. Some even point to it 
as an indication of war, claiming 
more children are born just before or 
during a war than any other time. At 
any rate, let's take a glance back- 
wards and note the number of babies 
born to movie celebrities, a record 
that far exceeds the number of di- 

The really important stars who con- 
tributed to Hollywood's population 
include Constance Moore, Veronica 
Lake, Mary Martin, Lili Damita and 
Errol Flynn, Jane Wyman and Ronald 
Reagan, Connie Bennett and Gilbert 
Roland, Virginia Bruce and J. Walter 
Ruben, Jack Carson and Kay St. 


Germaine, Lois Andrews and George 
Jessel, and Margaret Sullavan. The 
long-legged bird is also expected to 
visit the Jackie Coogans and Alice 
Faye and Phil Harris. 

Some group of babies, isn't it? At 
any rate, it shows Hollywood no 
longer lives under the fear of losing 
popularity either through marriage or 

Tidbits: The funniest sight Cal has 
seen in months was Hedy Lamarr 
lunching at the Brown Derby, staring 
at the booth directly opposite at the 
extra girl who is her exact image. 

The extra girl took one calm look 
at Hedy and went right on eating. 
Hedy, on the other hand, could 
scarcely take her eyes from the girl. 

It made a cozy tidbit for the Derby 
lunchers. . . . 

Betty Grable explains that as a 
friend and sweetheart, George Raft is 
perfect. There's just one drawback 
to the romance. That's his gifts of 
race horses that George registers in 
Betty's name. They always come in 

Whoa, there, romance! 

Behind the Scenes with Cal: Friends 
are holding their breath — but Elaine 

photoplay combined with movie mirror 

Barrie has been visiting John Barry- 
more while he's been ill. If that pah- 
gets together old Cal simply gives up. 
Our "noives" can't take it. 

Doctors say "war nerves" were re- 
sponsible for the premature birth of 
the Connie Bennett-Gilbert Roland 
baby, who was born before its mother 
could be taken to a hospital. Little 
Miss Christina Roland is as beautiful 
as her mommy. 

There are whispers that already 
powers-that-be are dictating policies 
to the young director-genius, John 
Huston, whose first picture, "The 
Maltese Falcon," was a directorial 
wow. Huston, Walter's son, is busy 
with the Bette Davis picture, "In This 
Our Life," and, Cal hears, his wonder- 
ful young ideas are being changed by 
the Front Offices. Bette herself is 
worried over it, so it was told old Cal. 
Shame, isn't it? 

Twinkle, twinkle little star in 
the blackout. Rita Hayworth comes 
to Ciro's with husband Ed Judson 
in blackout hat and dress equipped 
with tiny identification reflectors 

V for Victor — To Love or to Hate: 

"What's the matter around here?" 
Vic Mature screamed at Cal the other 
day on the "Song Of The Islands" set. 
"Nobody hates me any more and I'm 

"Are you crazy, Mature?" we asked. 

"Crazy, heck!" he came back. "To 
be liked by everyone in this industry 
is bad. Movie biggies pay more at- 
tention to the squawkers, the hard-to- 
get-along-with guys than the easy- 
brush-off guy. Say, I know. When I 
was raising heck all over the place 
about my Hal Roach contract deal, I 
got plenty of attention. It was good 
for me. When I justifiably raised more 
heck during the shooting of 'Hot Spot,' 
what happened? Did I get kicked out 
or slapped down? Don't believe it. 
Mr. Zanuck took matters in his own 
hands, looked at the rushes, decided 
I was right and then bought my con- 
tract from Roach. If I'd been namby- 
pamby about that trouble, where 
would I have been? 

MARCH. 1942 

Baby your face at bedtime to 

Wake up Lovelier! 

Doctors advise 
"baby- care" for 
your complexion 

Each night give your face this gende 
Ivory soap-and-water care advised by 
doctors for the World's Most Perfect 
Complexion — baby's own! 

Bedtime beauty-care, now more 
than ever, means Ivory Soap. For the 
quick cream lather of New "Velvet- 
Suds" Ivory is gentler than ever to 
your skin. Actually, New Ivory is 
milder than 10 leading toilet soaps! 

99 44 /l00% PURE • IT FLOATS 

IS YOUR SKIN DRY. sensitive? You 
should "baby" it with this gentle, New 
Ivory night-time routine: Cream lukewarm 
Ivory lather well into your skin with gentle 
fingertip massage. Warm rinses — pat dry. 
Since your skin lacks sufficient oil, apply 
lightly a little cold cream. Doctors advise 
gentle Ivory cleansing! 

IS YOUR SKIN OILY? Then you'll 
want New Ivory's richer, creamier lather to 
remove excess oil. Every night: With a rough 
washcloth, lather up lukewarm Ivory velvet 
suds — Vi-inch lather simply creams off your 
Ivory cake! Scrub upward and outward into 
every inch of your face. Rinse. Repeat. Warm 
rinse, then cold. Use this Ivory method 3 
times daily for sa/e beauty-care! 

"Baby-care" is Beauty-care . . . use 

New \e/vet-Judd IVORY 





These unretouched photographs (Case 
34) show results of Noxzema. Left 
shows badly chapped hands before treat- 
ment. Right shows wonderful improve- 
ment after using Noxzema. 

X'ith Noxzema, definite improve- 
nent in red, rough, chapped hands 
s often seen overnight! That's be- 
ause this famous medicated cream 
lelps soften dry, rough skin; aids 
n healing tiny skin "cuts." 
igainst snagging precious stockings. 
Hielp keep your bands and feet soft, 
smooth— with Noxzema! 

Let Noxzema help you all these 
ways this winter 

Noxzema brings quick, soothing re 
lief to red, rough, painfully wind 
burned skin and ugly chapped lips 
Mary Richardson of St. Paul. Minn, 
says: "1 use Noxzema on my face to 
help protect my skin against winter 
winds and to soothe it after exposure." 

CHAFED SKIN. Noxzema brings grand 
relief! Mrs. Harriette Eddy, of Min- 
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POOR COMPLEXION. Try medicated 
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Jni'uk otuff 

Bright idea to give ser- 
vice men a bright outlook 
on life: Parties Unlimited, 
with a star-studded mem- 
bership, entertains service 
men based near Holly- 
wood. Fair example: Phyl- 
lis Brooks gives a dance at 
the West Side Tennis Club 

Claire Trevor takes on 
two of the armed forces 
at the right, shows 
them a wonderful time 
at the Club, sends them 
home cheering Hollywood, 
the stars, and one of 
the most spirited war- 
time organizations 
in the film colony 

"Look, I love Joe von Sternberg 
and bless him for what he did for me 
on the screen in 'The Shanghai Ges- 
ture,' but, brother, when he got sassy, 
I got sassy. No mealy-mouth business 
about it. And you should see the 

"When I signed this new contract 
my agent gave me just two words of 
advice. 'Vic,' he said, 'be difficult.' 
And now look, everyone slaps me on 
the back, nobody hates me. I'm wor- 

We couldn't help but laugh, for 
we're one of Vic's ardent admirers, 
but there's something to his argument, 
especially when his salary has jumped 
from $400 to $1,750. 

But how, Cal pauses to inquire, can 
anyone hate a guy as co-operative as 
Vic? Even to oblige him? 

When Good Fellows Get Together: 
We happened onto the "In This Our 
Life" set just during the scene when 
Charles Coburn hands Olivia de Hav- 
illand a letter. Olivia was supposed 
to register annoyance as she read; 
take it from visiting Cal, she did. 
Afterwards, she showed us the note 
unsuspecting Coburn had handed her. 
It read: 

"Dear Livvie: While you are work- 
ing like a slave I've been given the 
day off. It's a lovely day to be loafing. 

Wish you were here. Love. Be* 

Bette and Olivia are having fun t< 
gether in this picture and now we 
waiting for Livvie's revenge. 

The Rotary Club Should Kno* 
Clark Gable is rapidly taking ov< 
the role of the best businessman i 
Hollywood. On their recent trip bac 
East, Clark and Carole bought a 
$1100 car in a Middle Western tow 
and drove it home. In Hollywood the 
sold the car at only $100 loss. 

The expenses home amounted I 
exactly $87. Carole and Clark stoppe 
in small towns and hotels, ate i 
small restaurants and had a biggt 
time than Santa Claus. 

When people have more fun tha 
Gable and get a bigger kick out ( 
doing it the American way — that o 
the average man — then we give up 
You just can't beat that guy! 

Or Do You Prefer Gin Rummy! 
Hollywood is playing a new game ari( 
oddly enough it began among th< 
secretaries of a large studio. "If 
could be married to five men at once,' I 
they begin, and then each makes he: 
choice. A writer's secretary madi 
this choice: Jock Whitney to pay th<. 
bills, Clifton Fadiman to talk to, R«| 
Skelton to make her laugh, Fre< 


photoplay combined with movie mirkoii 


Astaire to dance with and Lew Ayres 
for evenings at the fireside. Another 
chose Howard Hughes to pay the 
bills, Noel Coward to talk to, Bob 
Hope to make her laugh, Cesar Ro- 
mero to dance with and Eddie Duchin 
for quiet evenings at home. 

To the surprise of the girls the 
writer himself popped out with his 
version. Hedy Lamarr to lavish gifts 
upon, Greer Garson to talk with, Elsa 
Maxwell to make him laugh, Rita 
Hayworth to dance with and himself 
for quiet evenings at home. 

Got any better suggestions? 

War and the Working Gal: Patrons 
of Nancy's Gown Shoppe on Holly- 
wood Boulevard are surprised these 
days to find Pat Stewart, much pub- 
licized fiancee of Wayne Morris, 
working there as a saleslady. 

Marriage plans of Pat and Wayne 
have hit a snag, for the young man 
doesn't feel the salary Uncle Sam pays 
him in the Navy is adequate for the 
support of a bride. 

So while Pat is waiting for things 
to straighten out, she decided to be- 
come a working girl. 

Are You Half a Hundred?: Well, 
old Cal knows well enough all Photo- 
play-Movie Mirror readers aren't 
debs, sub-debs and so-called young 
matrons. We know from our fan mail 
that older men and women are just 
as avid readers of Hollywood news as 
the youngsters, so here's a special 
bulletin for them. Hugh Herbert has 
organized a "Fun Begins At Fifty" 
Club. If you're fifty or over and are 
frank to admit it, you can become an 
honorary member by just writing 
Hugh at Universal Studios. 

Among the Hollywoodites who have 
subscribed are May Robson, Hobart 
Bosworth, William Farnum and Lionel 
Barrymore. John declares he's "non- 

Anyway, it's an idea, so get busy, 
you "Fun Begins At Fifty-ers" and 
get on the Hugh Herbert band wagon. 
And lots of fun to "woo woo." 

Movie stars know the value of caring for 
the hair and scalp. They can tell you the 
importance of using the right treat- 
ment! If you've tried scented hair pre- 
parations without results, switch now to 
this famous MEDICINAL treatment, 
used by millions. Try GLOVER'S, with 
massage, for Dandruff, Itchy Scalp and 
excessive Falling Hair You'll actually 
feel the exhilarating effect, instantly! 
Ask for GLOVER'S at any Drug Store. 

Here's acon- 
venient way 
to convince 
yourself! Send today for a generous com- 
plete Gift application of Glover's Mange 
Medicine — also the New GLO-VER 
Beauty Soap SHAMPOO -in her- 
metically-sealed bottles. This gift is 
distributed by coupon only. Complete 
nstructions and booklet, The Scientific 
Care of Scalp and Hair, included FREE! 

Mange Medicine and the NewGlo-Ver 
Beauty Soap Shampoo, as pictured 

V low-crowned hat with a high-style 
ffect, worn by Frances Longford at 
he Mocambo, admired by her husband 
on Hall and a discerning Bob Cobb 

1ARCH. 1942 




if you use April Showers 
ftd Thnllingly soft on you 
J n luxuriously perfumed us 

fof ««* Expensive. 



CHERAMY perfumer 

Men love "The Fragrance of Youth" 

Request from South Africa: 
"A photo of Brian Donlevy 
specially for me . . ." Answer 
from Photoplay-Movie Mirror: 
A speaks-for-itself picture 

$10.00 PRIZE 
One Woman's Opinion 

FEW stars of today are powerful 
enough to draw John Public with- 
out the added attraction of a 
double feature and free glassware. 
None is great enough to carry a pic- 
ture alone. 

Each new opus must boast of artistic 
abilities ranging all the way from John 
Barrymore to Shirley Temple, but still 
there's something wrong, but defi- 

Just imagine, in the golden era of 
famous stars, the theater manage- 
ment's announcing free turkeys when 
a Valentino picture was being shown! 

Producers and writers strive so 
hard to show us what down-to-earth, 
common folk the stars are. That is a 
grave error. 

We actually resent it. American 
women love to worship from afar. We 
do not dream of our next-door neigh- 
bor, do we? 

Movies are cluttered "with too much 
noise and too little emotion. We hear, 
we see — we feel nothing. There is 
never a sweet silent moment for 
dreaming or even relaxing. 

Pictures of yesterday were no doubt 
pure hokum but they were soul-satis- 
fying, they made us feel, so we 
swarmed the place. 


Recently we have been 
deeply concerned over the 
poor sportsmanship on the 
part of one or two of our 
contributors in sending 
duplicate prize letters to 
several different maga- 
zines. These other publica- 
tions have also been em- 
barrassed by receiving 
word of the duplication 
from our readers who have 
been kind enough to bring 
the matter to their atten- 
tion. If necessary, there are 
legal steps that can be 
taken. But we earnestly 
hope that henceforth there 
will be no need for such 


Today pictures make us think, so 
we stay away in swarms. Well, shame 
on us. S'sorry we just want to be 

Mary Mitchell, 
Bakersfield, Cal. 

$5.00 PRIZE 
I942's Will Rogers? 

MY husband and I recently saw 
Noah Beery Jr. in a mediocre 
picture called "Two In A Taxi." As 
we watched him through this entire 
picture we were both thinking the 
same thought and were utterly amazed 
when we voiced it aloud at almost the 
same instant. It was this: "Here is the 
man to play the role of Will Rogers!'' 

Noah Beery Jr. has the same genial 
manner, the same shy smile, the same 
twinkle in his eye and the samel 
modest grin. Surely Mrs. Rogers her- 1 
self would approve of Noah Beery J 
for the role of her famous and beloved I 
husband, when the story of his lilet 
is made. We believe, too, that if a poll] 
were taken for the one most resem- 
bling Will Rogers, Noah Beery Jr. 
would easily win. 

Why not select him for the role| 
now so that he can begin immediate 
study for it? 

Whether or not you are given thi: 
role, Noah Beery Jr., you're a seconc 
Will Rogers to us. 

Marguerite Brown, 
Hannibal, Mo. 

photoplay combined icith movie mirro 

$1.00 PRIZE 
Ours vs. Theirs 

THE cinema houses have been cur- 
rently running pictures depicting 
the colorful lives of Americans in the 
British Royal Air Force. Such shows 
las "A Yank In The RAF" and "Inter- 
national Squadron" are great propa- 
ganda pieces. They depict boys from 
the U.S.A. enlisting in the Royal Air 
Force and the glamorous lives they 
lead once they are nattily dressed in 
English uniforms. 

There is no doubt that we are all out 
to stop the Hitler menace that threat- 
ens the world and that the British 
and American front is a united one. 
But why should the United States 
Government spend millions to enlist 
ill available men as pilots in our own 
Keep 'em Flying!" program while the 
novie producers run a recruiting ser- 
vice for our cousins across the ocean? 
There is plenty of colorful material 
n the Aviation Cadets of the Army, 
vlavy and Marines for powerful, pulse- 
noving scenarios. The very lives of 
hese "fledglings" while they are stu- 
lent pilots for Uncle Sam in his effort 
o turn out 30,000 pilots a year spell 
hrills and excitement. There are 
nany struggles in becoming Aviation 
Cadets and many more in eventually 
)ecoming flying officers in the United 
"states Air Forces. 

Corporal John Advent, 

Victoria, Texas 

$1.00 PRIZE 
From England to Hollywood 

A FTER reading the article in your 

\ October issue of "Photoplay- 

/lovie Mirror" entitled "How to Get 

T our Fan (Continued on page 94) 

following prizes each month for the best 
letters submitted for publication: $10 first 
prize; $5 second prize; $1 each for every 
other letter published in full. Just write in 
what you think about stars or movies, in 
less than 200 words. Letters are judged 
on the basis of clarity and originality, and 
contributors are warned that plagiarism 
from previously published material will be 
prosecuted to the full extent of the law. 
Please do not submit letters of which 
copies have been made to send to other 
publications; this is poor sportsmanship 
and has resulted, in the past, in embar- 

assing situations for all concerned, as 
each letter is published in this department 

n good faith. Owing to the great volume 
sf contributions received by this depart- 
ment, we regret that it is impossible for 
js to return unaccepted material. Accord- 

ngly we strongly recommend that all con- 
nbutors retain a copy of any manuscript 

ubmitted to us. Address your letter to 

Speak for Yourself," PHOTOPLAY-MOVIE 
IRROR, 122 East 42nd St., New York 

ity, N. Y. 

Expect to be stared at envy ••when you 
come out in vDMOlibn &int 

What a thrill ... to step into a room filled with lovely 
women and have all eyes turned to you . . . in envy! 

Princess Pat "English Tint" can do exactly that for a woman. It 
creates a complexion so exquisite . . . others can't help but stare. 
Two things account for its startling beauty. One we'll reveal — 
that's the delicate tones of the English hedge-rose that bloom in 
your cheeks and on your lips when you make up in Princess Pat 
"English Tint." The other is our secret — but it's yours to enjoy. 
These preparations you'll need to gain this new exquisiteness for 
your very own: 


. . . you'll love the smoothness of this lipstick and its 
amazing power to last. You'll love still more the com- 
pletely smear-proof feature of LIQUID LIPTONE. 


. . . either one blends with the perfection for which 
Princess Pat Rouge is known the world over. The rouge 
is the cake type — CHEEKTONE is something new . . . 
the most exciting cosmetic achievement in years. 


" r j»~"^\ • • • your "regular" shade. It will go 
perfectly with the "English Tint" cheek 
and lip make-up ... oh! how adorable 
you are going to look! 

Send for Complete 

English Make-up Kit 

Yes, a complete Princess Pat English Tint 

make-up kit — everything you need for real 

English complexion loveliness. Contains trial size English 

Tint Rouge, a creamy Lipstick, a box of Face Powder to 

match and Liquid Liptone. An extraordinary offer — a 

"make-up" you just have to have. Send name and 

address together with 25c to cover partly postage and 

packing. Princess Pat, Dept. 432, 2709 S. Wells St.. Chicago 



\RCH, 1942 


Star of Paramount photoplay "Louisiana 
Purchase" with his pet Canary 

Win New Popularity 
in Hollywood 



is the Favorite 


Canaries have become a sensation 
in Hollywood ! The newest pets 
of movie stars — just as French's 
Bird Seed and Biscuit is their 
favorite canary food. That's 
because French s is a balanced 
diet of 11 ingredients. In addi- 
tion to a selected seed mixture, 
the package contains French's 
Bird Biscuit (in itself worth 
10 cents). 

Do as the movie stars do — own 
a canary and feed him French's ! 

Largest-Selling Bird Seed in the U. S. 

I D< 

1 a c 
\ Lar 





The tame beautifully illustrated 76-page book 
that movie start keep handy for expert ad- 
vice on the care, treatment and breeding of 
canaries. This Book should be In the 
home of every canary owner. It's 
yours — Free! Simply mail 
Coupon, with your name 
and addrest. 

2461 Mustard St., Rochester, N. Y. 
Send me the Canary Book Movie Stars use —Free ! 







(Paste on penny postal card and mail) 

Take a good look at Spencer Tracy taking a good look at Katharine Hepburn in 
M-G-rVTs "Woman Of The Year," which promises to be a picture of the month 

Johnny Downs dons women's clothes and enrolls at 
a strict girls' school in order to get even with the 
school for having cast aspersions on a near-by male 
student body. Frances Langford sings, which is 
easy to take, but it's a nonentertaining little 
musical. (Jan.) 

Charles Boyer is at his smoothest in this gay movie 
as the playwright who marries a successful doctor, 
Margaret Sullavan, who puts into practice all her 
scientific theories about marriage and takes her 
own apartment. Both Reginald Denny as the 
"other man" and Rita Johnson as the "other wo- 
man" are splendid. It's sparkling as your Christ- 
mas tree. (Jan.) 

Rooney and Judy Garland instill freshness into 
the same old story of would-be actors' finally hitting 
the big time. Mickey, Ray McDonald and Richard 
Quine have an act they don't get very far with 
until they meet Judy. Mickey's impersonation of 
Carmen 'Miranda and Judy's singing are high- 
spots and the production numbers are staged with 
M-G-M lavishness. (Feb.) 

k/V BALL OF FIRE — Goldwyn-RKO: Gary 

Cooper, one of a group of professors compiling an 
encyclopedia, sets out to broaden his knowledge of 
slang and meets night-club babe Barbara Stanwyck, 
on the lam from the police. What happens is wildly 
hilarious. Kathleen Howard, Allen Jenkins and 
the professors, all of whom you'll love, lend 
tremendous support. (Feb.) 

\/ BIRTH OF THE BLUES— Paramount: In this 
good-natured, easy-going movie, Bing Crosby, a 
Southern lad, finally rounds up the first white band 
to play blues music and, through the aid of Mary 
Martin's singing, gets a hearing. You'll like every 
minute of it, the music and the cast, which includes 
Brian Donlevy and Rochester. (Dec.) 

y BLUES IN THE NIGHT— Warners: An odd, 
sultry, queerly somber picture, ' this, set to the 
throbbing music of Jimmy Lunceford's band and 
telling of a small Southern dance band that finds 
trouble at Lloyd Nolan's notorious roadhouse. 
Ric hajd Winn t as the young pianist whom Priscilla 
I..'inefljk)fretly loves is a fine actor. Willi Betty 
FieTcf (Feb.) 

BURMA CONVOY— Universal: Fast-moving, 
timely melodrama about the truck caravans bring- 
ing supplies along the dangerous Burma Road. 
Charles Bickford is the leader of the truck drivers, 
Frank Albertson his younger brother, and Evelyn 
Ankers provides the heart interest. (Dec.) 


CADET GIRL— 20th Century-Fox: George Mont- 
gomery is a West Pointer who falls in love with 
Carole Landis, singer with his brother's orchestra. 
They decide to marry even though it means George's 
expulsion from the school, but the brother tries 
to bring Cadet Montgomery to his senses. Good 
music, good looks and special bits of acting keep 
the picture lively. (Feb.) 

The big news of this gay song fest is Rise Stevens 

who becomes Nelson Eddy's singing partner in this 
chuckle-laden story. Eddy gives his liest per- 
formance as the married operetta star who tests 
the loyalty of his capricious wife. Miss Stevens, by 
pretending to be a Russian baritone. The music 
is out of this world. (Feb.) 

y CONFIRM OR DENY— 20th Century-Fox 
Don Ameche is the dynamic head of an American 
news service in London that attempts to keep ope: 
for business despite the bombings, with Joan 
Bennett, as the English girl employed by the ser- 
vice, John Loder, Raymond Walburn, Roddy Mc- 
Dowall and Arthur Shields caught up in the 
scramble. It's firecracker fare. (Feb.) 


Russell's beauty and charm as the female judge is 
the undoing of nervy photographer Walter Pidge 
when he sets out to involve her in scandal at the 
instigation of his boss, Edward Arnold, who wants 
his alimony reduced. Lee Bowman and Mar 
Beth Hughes get caught up in the nonsense that 
proves entertaining fun. (Feb.) 

DOWN MEXICO^ WAY— Republic: When Gen 
Autry discovers his townsfolk have been gypped 
by a band of crooked movie promoters, he ride* 
right over into Mexico to round up the varmints 
Fay McKenzie is pretty and talented as Gene's 
new leading lady and Smiley Burnette is right i: 
there pitching. One of the best of the Autry 
pictures. (Jan.) 

Although this is its third screen version, it's a 
gripping, compelling, interesting picture. Spencer 
Tracy as the scientist overacts every now and then. 
Lana Turner is beautiful, but it's Im;rid Bergman 
who walks off with the movie. (Dec.) 

l/V 1 DUMBO — Walt Disney: All the whimsical 
charm that Disney has lavished on his past 
fantasies is embodied in this heart-touching story 
of Dumbo, the baby elephant whose enormous ears 
cause him to be spurned and despised until he 
learns how to fly. It's warm and appealing an: 
funny, beautifully drawn and executed. (Jan.) 

photoplay cotnbtned u-ith movie mirror 

Columbia: Ralph Bellamy js again the famous de- 
tective who solves some murders in a hospital, but 
it's the side-splitting performance of two dumb 
bunnies, Paul Hurst and Tom Dugan, who play 
their roles straight, that provides riotous fun. 

When Jack La Rue is released from prison he 
returns to his brother's stock farm down South 
where he finds villainous John Holland, who origi- 
nally framed him. Marian Marsh is his brother's 
wife, and little Mary Ruth, who's an accomplished 
musician, is her stepdaughter. (Dec.) 

^ GLAMOUR BOY — Paramount: An appealing, 
good little movie, loaded with human interest, with 
Jackie Cooper playing a former child star who's 
called in to coach Darryl Hickman in a remake of 
Jackie's former hit, "Skippy." Jackie meets and 
falls in love with Susanna Foster and finds plenty 
of grief before emerging with a new viewpoint 
on life. (Feb.) 

Paramount: Jimmy Lydon, as Henry, handles the 
frustrations, trials and tribulations that confront 
him when running for student body president with 
all the finesse of a veteran. Great support in June 
Preisser, Mary Anderson, Martha O " I Jriscoll and 
Vaughan Glaser overcomes the weaker moments. 

\/ H. M. PULHAM, ESQ.— M-G-M: Frankly 
disappointing is our opinion of the movie version of 
the best seller, but our one-check approval goes for 
the splendid performance of Robert Young as the 
man who can't break away from tradition, for the 
careful direction and for the sterling acting of 
Van Heflin and Ruth Husse. Hedy Lamarr cloaks 
her beauty as the business girl. (Feb.) 

HONKY TON K— M-G-M: A rambling story about 
a Western con man, Clark Gable, who with his 
pal Chill Wills, gets elected the big boss of a town 
and taxes the people into rebellion. Lana Turner's 
a nice girl from Boston and the daughter of Frank 
Morgan, whom Clark marries on his way up, and 
Claire Trevor is the dance-hall girl. (Jan.) 

• HOT SPOT— 20th Century-Fox: When Victor 
Mature, Alan Mowbray and Allyn Joslyn turn 
waitress Carole Landis into a glamour girl and she's 
found murdered, Mature and Carole's sister, Betty 
Grable, become suspects and are relentlessly pur- 
sued by menacing detective Laird Cregar. Cregar 
is terrific and it's a fast-moving, suspenseful 
picture. (Jan.) 

Century-Fox: An Academy Award contender is 
this great human-interest document of a boy's life 
in a Welsh mining town. Marching through the 
beautifully directed story are the father, Donald 
Crisp, and the mother, Sara Allgood, with their 
sons, among them Patric Knowles, John Loder and 
Roddy McDowall. Maureen O'Hara is the beauti- 
ful daughter and Walter Pidgeon the preacher. 
Flawless and spellbinding. (Jan.) 

Beautiful spy Ilona Massey leads George Brent 
of the F.B.I, and Basil Rathbone of Scotland Yard 
a merry chase from London to Lisbon to America, 
as the two men attempt to find a gang of saboteurs. 
The two detectives are charming and witty and 
Ilona is delightful. Gene Lockhart is also very 
good as the wealthy pro-Nazi. (Jan.) 

\/\/ KATHLEEN— M-G-M: Shirley Temple at 
twelve is a better little actress than ever before 
and has gained a new beauty and charm. She 
plays the lonely, motherless child of Herbert Mar- 
shall and schemes to have her father marry Laraine 
Day, child psychologist, rather than Gail Patrick, 
of whom she disapproves. The story radiates good 
humor and charm. (Feb.) 

KEEP 'EM FLYING — Universal: Those funny 
boys, Bud Abbott and Lou Costello, are given a 
thin, anemic story in this one, with little of the 
humor that has packed their other movies. Despite 
the story faults, the boys rate cheers and several 
of their gags are sure laugh-getters. Carol Bruce 
and Dick Foran interrupt the picture for romance 
and Martha Raye plays twin sisters. (Feb.) 

KID FROM KANSAS,. THE— Universal: A 
blight, sabotage and all kinds of trouble hit the 
banana plantation of Leo Carrillo; and Andy Devine 
and Dick Foran receive the blame for it all until 
Foran escapes from jail and uncovers the real 
rascals. A lot of action is mixed up in the story 
and the trio of actors do right well. (Dec.) 

This famous stage play is superbly translated to 
the screen with a never-relaxing suspense. Ida 
Lupino is mainly responsible for its compelling 
quality of repulsion and sympathy, as the com- 

? anion who ruthlessly murders to provide a home 
or her mentally ill sisters. Louis Hayward, too, 
rates honors, as does Evelyn Keyes as the maid, 
and Edith Barrett and Isobel Elsom. (Dec.) 

Laughs follow one after the other in this un- 
sophisticated comedy about a radio entertainer, 
Edgar Bergen, who with Charlie McCarthy lands 
in a small town where he helps Fibber McGee and 
Molly defeat a couple of land sharks. Lucille Ball 
and Neil Ham ton add to the fun. (Dec.) 

(Continued on page 106) 

MARCH. 1942 

'My husbands kisses were cold as ice 




I. I never dreamed I would ever play the role of a neglected wife. We were so madly 
in love, at first— then, little by little, Jack's ardor waned until it seemed as though 
he actually disliked to be near me. I was utterly miserable. 

2. I hid my unhappiness from everyone. Until 
one day at luncheon with Jane, my closest chum 
— I broke down and told her everything. She 
said, "Darling, don't be offended, but perhaps 
it's your fault. There's nothing that chills a 
husband's love more than carelessness about 
feminine hygiene. 

3. "Early In my marriage," she said, "a woman 
doctor set me straight forever about this one 
neglect. I've followed her advice ever since and 
used Lysol disinfectant for intimate personal 
care. Because Lysol cleanses, deodorizes . . . 
and a single douche kills millions of germs, 
without harm to sensitive tissues." 

4. I went immediately to the nearest drug store, 
bought a bottle of Lysol, and followed the 
simple feminine hygiene directions on the label. 
I've used it ever since, with 100% effective re- 
sults. My marriage, I might add, has become 
a happy honeymoon once more! 

Check thl« with your Doctor 

Lysol is NON-CAUSTIC — gentle and 
efficient in proper dilution. Contains no 
free alkali. It is not carbolic acid. 
EFFECTIVE— a powerful germicide, 
active in presence of organic matter 
(such as mucus, serum, etc.). SPREAD- 
ING— Lysol solutions spread and 
virtually search out germs in deep 
crevices. ECONOMICAL— small bottle 
makes almost 4 gallons of solution for 
feminine hygiene. CLEANLY ODOR— 
disappears after use. LASTING — 
Lysol keeps full strength indefinitely, 
no matter how often it is uncorked. 

Copr , 1941. by Lehn & Fink Products Corp 

For FREE booklet (in plain wrapper) about Feminine Hygiene and other Lysol uses, send 
postcard to Lehn & Fink Products Corp., Dept. P.M.M.-34.>, Bloomfield, N. J., U.S.A. 



ust picture yourself... 

. . . looking into the looking glass and seeing 
a girl about whom everyone says, "What 
beautiful hair she has!" 


Pretty to look at, easy to handle — the new Hollywood 
fad, a braid coiffure, shown off by Paulette Goddard 

Just picture yourself . . . 

. . . with hair that's as sleek as 
Paulette Goddard's. 

Easy to conjure up a picture as 
pretty as that; just as easy to make 
it real. Caught out in a Beverly Hills 
beauty shop, Paulette admitted that it 
had taken some hard work on the 
part of Hedvig Mjorud, Paramount 
hairdresser, to make it what it is to- 
day; i.e., in her own words, "my best 

The Goddard sets a record by pro- 
claiming that her hair has grown four 
inches in six months, lays it all to 
the double-brushing process: "You 
take two brushes and with one in each 
hand you work alternately on a strand 
of hair at a time, until the whole 
scalp has been covered. It has made 
my hair grow and as for cleanliness 
and polish — well, look at it!" 

Do look at it in "Reap The Wild 
Wind"; look at it again here, arranged 
in a trick coiffure of easy-to-handle 
braids; then try a bit of double- 
brushing and braiding yourself. 

Just picture yourself . . . 

. . . not saying to the hairdresser, 
"Just set it the same old way." 
Go ahead and give in to woman's 
greatest weakness — a new coiffure. 

First of all, though, be sure you're 
not tired, overworked or feeling below 


par the day of your appointment be- 
cause bodily health is reflected imme- 
diately in the hair. Then be sure, 
before you decide on the new coiffure, 
that you look at yourself in a full- 
length mirror, harmonize the hair- 
dress with your figure as well as 
your face. If you're small and round, 
don't wear a long bob; if you're slight, 
keep your hair short; otherwise, you'll 
look plenty top-heavy. If you're tall 
don't wear too short a cut. 

One important thought — don't ex- 
pect a new pompadour to look right 
and stay in place unless your hair 
has been shampooed correctly. Choose 
your shampoo carefully, be sure that 
it's one that does a thoroughly cleans- 
ing job and leaves your hair pliable, 
soft and ready to accept new ideas. 

Just picture yourself . . . 

. . . with your hair standing on 
It should, you know, every night in 
the week. The Goddard brushing 
process which takes a bit of time, 
should be your weekly ritual at least, 
but your before-I-lay-me-down-to- 
sleep brushing business should go like 
this: Bend over from the waist, brush 
out all your hair from the crown of 
the head, then brush from underneath 
with an upward stroke till your hair 
is standing out all over your head 
and snapping like an angry kitten. 

Just picture yourself . . . 

. . . knowing as much as hair- 
dressers do about hair. 
Swear on a copy of Photoplay- 
Movie Mirror that you'll remember 
these expert ideas: 

1. That your shampoo is the secret 
of highlights in your hair; choose one 
that gives the hair more luster. That 
you can shampoo as often as you 

2. That rinsing is an important 
business and not to be taken lightly. 
Rinse until the hair squeaks when 
pulled through the fingers. 

3. That brushing won't spoil a wave; 
as a matter of fact, it will improve a 
poor one. Brush and brush as if your 
hair were naturally curly; it will make 
your head gleam satin-smooth and 
your hair fall into place more easily. 
Never whip with the brush; use a 
gentle, firm stroke. 

4. That brittle ends should be 
clipped off immediately and your hair 
treated to an oiling every so often. 

5. That there's a tried-and-true 
trick for dull hair. It's this: Take a 
piece of old silk about the size of a 
pocket handkerchief and polish the 
hair strand by strand. 

Do all these things for six months, 
then stand back and picture yourself 
as you really are: A woman who's 
accomplished some clever headwork. 

photoplay combined irifh movie mirror 

Thrilling New Way To More Glamorous Hair . . . 

"Sweet Sophistication". . . charming* new young hair-do. Before styling* the hair was washed 
with Special Drene. See how silky and smooth it looks, how beautifully it lies in place 

tmazing new improvement in Special Drene Shampoo 
wonderful hair conditioner now in it for new allure! 

> Do you wish your hair had that silky, 
mooth, well-groomed look so smart these 
ays? That it would fall into place beauti- 
ully and neatly, when you comb it? 

t Then you simply must try the new, im- 
proved Special Drene Shampoo — with a won- 
erful hair conditioner now in it! For that 
iair conditioner just makes the most amazing 
ifference — leaves hair far silkier, smoother, 
asier to manage, right after shampooing! 
E fbn'U be thrilled! 

Reveals up to 33% more lustre! 

. es! In addition to the extra beauty benefits 
f that amazing hair conditioner, Special 
)rene still reveals up to 33% more lustre 
ban even the finest soaps or liquid soap 
hampoos! For Drene is not just a soap 
hampoo, so it never leaves any dulling film, 
s all soaps do! Hair washed with Special 
)rene sparkles with alluring highlights, glows 
'ith glorious, natural color. 

Unsurpassed for removing dandruff! 

e you bothered about removal of ugly, 
ly dandruff? You wont be when you 

ARCH, 1942 

shampoo with Drene! For Drene removes 
ugly dandruff the very first time you use it! 

And besides, Drene does something no soap 
shampoo can do — not even those claiming to 
be special "dandruff removers"! Drene re- 
veals extra highlights, extra color brilliance . . . 
up to 33% more lustre! 

So to get these extra beauty benefits don't 
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Directed by William Wellman 

Produced ond Written for the screen by Nunnolly Johnson • Boied upon the 
Ploy "Chkogo" written by Mourine Wotkins and produced by Sam H. Horrrti 

A 20th Century-Fox Picture 


Learn to say "/ Love You" The South Sea Way! 


s * 


Stop! Look! Listen! It's Coming! 



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photo Piny 

mm mirror 

Letters From You 

NOTHING is more gratifying about this job of 
putting out a movie magazine than the pleasure 
of reading your letters. Not always are they 
filled with praise and approval; you know how to speak 
your mind when you don't like something in the maga- 
zine or when you are offended or disturbed by some- 
thing one of our writers has said. 

I wonder if you realize how much we in this office 
welcome your communications, favorable or unfavorable. 
Nothing can give us a better indication of how much — 
or little — we are succeeding in bringing you the kind 
of magazine you want. 

Most exciting, I must admit, are letters exemplified by 
the following. It came from J. D. Bayne of Vancouver, 
Canada, and it reads: 

"In one of last year's heaviest blitzes I was a 
temporary air-raid warden in London. From a pile 
of rubble underneath a bombed apartment-block we 
pulled a girl who had taken refuge in a very insecure 
shelter. She was alive but badly injured. With her 
she had taken a blanket, a flashlight, her vanity 
compact— and a copy of PHOTOPLAY-MOVIE 
MIRROR. (Just thought you might be interested.)" 
Of course we are interested, we are touched, and for a 
moment feel that our little work here somehow has more 
significance than we could hope. 

As an example of the bond that sometimes can be 
forged between a reader and ourselves, consider the let- 
ter which I shall quote in part from Marjorie Toole of 
Liverpool. Almost a year ago she wrote thanking us 
for a small picture of George Sanders that appeared in 
the magazine. But she added: "How about giving us a 
nice full-sized picture of a real-life 'he-man' — and to me 
George Sanders fills the bill." Then she said: "Here 
we are, night after night waiting for 'Jerry' to come over, 
running down the garden into our shelter, and then just 
sitting there with nothing in particular to look at, trying 
to forget the 'so-and-so' is overhead. Now just put 
yourself in my place. If I had a nice picture of George 
put on the wall with four thumbtacks, or even in a 
[frame if I had one big enough, I'd even forget there 
was an air raid on or the battle of Britain was being 
fought. (And believe me it's being fought right over 
our heads.) So take pity on a poor American fan of 
George Sanders stranded here in the 'front line' (and I 
can assure you I mean just that) and give us a full-page 
picture of the man himself." 

Then Helen Gilmore wrote her and said: 

"We were tremendously glad to have your inter- 
esting letter of many months ago and have been 
waiting to give you concrete proof that it reached 
its American destination. You'll see the result in the 
page forty-nine, a portrait of George Sanders which 
we especially requested the studio to make. Just in 
case magazines may not be readily available to you 
over there, we're enclosing a proof." 
Weeks later the mail brought us this: 

"I received the picture of George Sanders which 
you so kindly sent me a few days ago. The week 
before it arrived we in Liverpool had eight nights 
of continual bombardment. Jerry would arrive soon 
after ten o'clock and bomb us until four or five next 
morning. We wouldn't mind his bombing military 
objectives. As a matter of fact, we would respect 
him for being patriotic enough to face the awful 
barrage we put up if he came to do that. But when 
it gets light and the smoke that has laid deep over 
the city for hours dies away and you can see fac- 
tories and chimneys of all kinds of public works 
standing, but rows of little houses simply gutted by 
fire and high explosives, you realize how unmerciful 
are these Germans. I lost an aunty and an uncle in 
this last blitz, and although I know it must have 
been a sudden death because their house got a direct 
hit, I often wonder what they had done to deserve 
such a death. Then the next morning the mailman 
knocked on what was once a good house (now with- 
out electric light, water or gas, and windows and 
frames blown completely out) to give me George 
Sanders all wrapped up in first-class mail. Although 
I was tired from loss of sleep, and sorrowful through 
the death of loved ones, I managed to forget just for a 
while as I read your letter. Now when I go into the 
shelter, I take George with me to make sure he 
won't get a direct hit. . . ." 

This is but an infinitesimal part of the letters we have 
received from you in past months. I do hope there will 
be many more. Now we are all in the front-line trenches, 
and if this magazine can give some joy in the midst of 
danger that is so sorely trying men's souls, we shall be 
proud to be "more than just a movie magazine." 

Letters from you are the only source for this encour- 
agement. Won't you keep on writing them? 

MARCH. 1942 



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Big mistake or a grand choice? 
It depends on what you think of 
Ava Gardner after reading this 


1 ICKEY ROONEY is going to 
l\#\ get married. By the time you 
I T 1 read this, Mr. Rooney may al- 
ready be a benedict. His plans, at the 
moment, are indefinite, but his heart 
is sure — that organ of affection be- 
longs solely to a beautiful little 
Southern miss, one Ava Gardner, who 
'six months ago never dreamed of a 

ollywood career, let alone marriage 
with America's number-one box-office 

It's the fairy-tale story of the year. 
It's the story of Fate with a great 
big capital "F." It's proof that magic 
dreams come true and that one day 
happiness may come to you. 

On the set of "The Courtship Of 
Andy Hardy," we sidled up to Mickey 
and said, "Well, Mickey, how did you 
know this girl was the one?" He 
looked at us rather seriously. "Just 
a little thing called love," he said. 
ITiere you have it in a nutshell. 
Mickey, the so-called "smarty-pants 
of the kid set," the "wild boy of the 

jive group," as he's been unfairly 
termed, is a man in love. He's met 
the one girl in the world for him and 
he's going to see she doesn't get away 
from him. 

The kind of girl Mickey has chosen 
for his wife is news eagerly awaited 
by fans everywhere, judging from the 
letters and telephone calls that have 
poured into Mickey's studio. "What's 
she like?" "Bet she's a cute blonde 
trick." "Is she a good-time, hey-hey 
kid, like Mickey?" Those were just 
a few of the queries; here are the 

A few months ago, Mickey went 
into the M-G-M commissary in search 
of his friend, Les Peterson, of the 
publicity department. Mickey had to 
find out more about his appearance 
the next night at the Chinese relief 
festival in Los Angeles. Les was talk- 
ing to a group of studio youngsters; 
among them was a brown-haired, 
hazel-eyed beauty who had just ar- 
rived on the lot that day. 

Suspicion aroused: Crack tennis 
player Rooney showed up at cham- 
pionship games with a little 
Southern newcomer, Ave Gardner. 
Suspicion verified: Ava (left) 
was guest of honor, with Mickey's 
mother, at his birthday party 


MARCH, 1942 

Mickey looked at her, glanced away, 
and did as beautiful a double-take as 
any screen comedian. He kept on 
looking at her long after the plans for 
the parade were complete. 

"Then what did you do?" we asked. 

"I asked her for a date." 

"For when?" 

"As soon as she could make it." 

It was agreed, then, that Mickey 
should drive around next night to see 
Ava after the parade. 

"And for my very first date I was 
late," he moans. "So we just drove 
around a while and then went to a 
drive-in for a hamburger." 

From that night on Mickey never 
seriously thought of another girl. He 
was caught and held by a quality — 
no, by several qualities — that he had 
little experienced in the girls he'd 
met in Hollywood. For one thing, 
Ava was not particularly Hollywood- 
minded. She had not been touched 
deeply by those ambitions that can 
change a girl's (Cortinued on page 68) 



We were the first to tell you, on page 77 of the February issue, that 
the Brent-Sheridan romance was not over. Now we have another "first" — 
an exciting account of how Ann's "good-by" to Brent ended in a wedding 

SURPRISE is a mild word to 
describe the thunderbolt that hit 
Hollywood with the news of Ann 
Sheridan's marriage to George Brent. 
Studios, personal representatives, per- 
sonal friends, kings and queens of 
gossip were alike left wordless with 
astonishment — -and, for once, just plain 
lack of information. These two had 
so articulately disclaimed both in 
print and in private even a remote 
intention to wed. And both had an 


uncommonly high rating for honesty 
in a town which doesn't always in- 
dulge in the facts. 

But it seems that strange and un- 
accountable elements enter into mat- 
ters of this nature. For instance, 
there's the element of time. Barely 
four short weeks ago Ann and I were 
having luncheon together on what I 
now regai'd as a historic occasion. Let 
me tell you about this before I relate 
what changed her and what happened 

at the wedding. Ann with her cus- 
tomary candor was discussing her long 
friendship with George Brent. 

"Yes, it's over," she announced 
cheerfully. "It never was really seri- 
ous, you know. Not serious, I mean, 
in a marrying way. We went to- 
gether, George and I, for two years, 
come last Christmas. During thai 
time, except for business purposes, 
neither of us went out with anyone 
else. We never mentioned marriage, 

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not once during all that time. We 
didn't want marriage, either of us. 

"I have said this from the begin- 
ning," Ann went on. "We have both 
said it, when asked. George said it — 
for publication — and was criticized for 
doing so. It would hurt me, people 
said. I would resent it. Bologny. Why 
shouldn't he have told the truth? 

"We were reported on various oc- 
casions to be secretly married. Tripe. 
When asked (Continued on page 89) 

MARCH, 1942 

The wedding picture above, 
taken directly after the 
ceremony in Brent's sister's 
Palm Beach home, was what 
Hollywood didn't expect 
after seeing Ann and Cesar 
Romero (left) dating at 
Giro's just a few weeks ago. 
It was the first Sheridan 
date without Brent in two 
years and was the event 
that deceived Hollywood 
into believing her break- 
up with George was final 


He spoke to her in desperate 
earnestness. They told her she 
shouldn't listen to him. But what 
woman could have brought her- 
self to act in any other way? 




IT was there on the steps leading 
into Cosmic Studios — a bit of torn 
paper with a black crayon cross in 
the center. 

But Bill stopped when he saw it. 
in spite of his hurry. Because he had 
seen a bit of paper marked the same 
way once before. Only then it was 
in the palm of a dead man. 

That had been after Bill got out 
of Harvard and was on the newspaper 
in Boston. It was a gang murder. The 
cops said it was left by the killers — 
their way of saying the victim was a 

This had no such meaning, of course. 
A piece of scrap paper some actor 
had dropped, probably. Coincidence. 
Bill had no intention of considering 
it an omen. He tossed it to the breeze, 
hurried into the studio. 

The blonde receptionist regarded 

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the dark-haired, lanky young man 
with impersonal speculation. "Casting 
office around the corner to the left. 
And I hope they're using athletic 
types this week!" 

Bill grinned. It was five years since 
he had held the heavyweight spot on 
Harvard's boxing team. 

"I don't work at being an athlete 
and I'm not an actor. I'm here to see 
Miss Winslow. Caryl Winslow." 

Other callers were waiting . in the 
chairs along the walls of the shad- 
owed, mosquelike reception room. 
He was aware of the hush that came 
at his mere mention of the star's name. 
But the girl gave no hint of surprise. 
"You have an appointment?" 

It was the first hurdle. "Well — not 
exactly. Only got in this morning. 
On the plane from New York. Came 
right over." 

MARCH, 1942 

"Sorry. You have to have an ap- 

Finality in her voice. Bill said, "In 
a sense, I do have one. I'm a news- 
paperman. Sent here just to get this 

That was a lie. But they'd tried 
every other way of reaching her — 
and failed — and there was one chance 
this might work. Once he saw her, 
he'd tell her the real story. 

"Newspaper?" The girl was disbe- 
lieving. "Which one?" 

He got the answer out fast. "The 
Record. The Boston Record." 

"I thought you said you came from 
New York?" 

"From New York, en route from 
Boston," he said glibly. 

He had actually worked on the 
Record once, for that year after he 
left Harvard. He'd resigned when the 

Summers' hand was 
on Bill's arm, edg- 
ing him from the 
table. Bill looked 
beyond him to 
Caryl. "It'll only 
take a few minutes," 
he said huskily 




chance came to go to New York with 
Acme Advertising. But he still had his 
old press card. He began fumbling in 
his pocket. 

"You've got your Hays card?" the 
girl asked. 

He stopped fumbling. He'd heard 
about registering with the Hays 
Office, hadn't realized its all-impor- 
tance. "To be frank, I haven't. Com- 
ing over in such a hurry as I did — " 

"You can't get anywhere without a 
Hays card." But the sea-green eyes 
were warmer. "You aren't a news- 
paperman at all, are you?" 

HER expression said she knew he 
was lying. The newspaper ap- 
proach had worked back East on oc- 
casion. Here in Hollywood, in spite 
of the need for publicity, it plainly 
was no go. 

"But I have to see Miss Winslow," 
Bill said. "It's a matter of what you 
might call life or death." 

She was only slightly impressed. 
"Why don't you tell me what you 
really want?" 

"It's actually my job. Either I see 
her — or I lose it." 

The thin, penciled eyebrows lifted 
questioningly. He debated whether or 
not to throw himself on her mercy. 
Decided finally there was nothing to 
do but plunge ahead with the truth. 

"I'm in an agency in New York. 
Acme Advertising. We've got a client 
named Swanson wants a big-name 
testimonial and I suggested Caryl 
Winslow. He went for it, but every- 
body in the office said it couldn't be 
done, only I said anything could be 

"So you came all the way out 
here — " 

"We tried all the regular channels. 
Publicity men, telegrams, long-dis- 
tance calls. Turned down everywhere. 
But Swanson's expecting us to deliver 
and if we don't we lose the account 
and I'm fired. That's why I came out." 

She was fussing with her hair. "If 
the regular studio offices gave you 
the cold shoulder — it's useless. You 
might as well go back to New York." 

"Listen," he told her, "I'm doing 
this on vacation time. I'm not quitting 


— not until I get a final yes or no from 
her personally." He paused. "Maybe 
if I saw her at her home — " 

"Away from the studio? I doubt 
if that would change anything." 

"But one could obtain her address, 
I suppose?" 

She shook her head. "I can't give 
it to you. I'd like to help, but rules 
are rules. She's on the set now — I can 
tell you that much." The smile had 
sudden mischief. "She has to go home 

Abruptly, as if she had told him 
enough and no more, she turned to 
a newcomer, a white-haired man in 
spats who looked like Lear in modern 
dress. He wanted to see Larry Pierce, 
the director. 

"I'll see if Mr. Pierce is in his of- 
fice. Did you have an appointment?" 

Bill didn't wait to hear more. He 
waved a hand to her, hurried out into 
the sunshine. 

She had to go home sometime. Of 
course. Away from studios, rules and 
regulations, passes from the Hays 

He stood on the steps, watching the 
flow of traffic on the street. A taxi 
drew up and a man got out. Bill hur- 
ried down the steps before the taxi 
pulled away. 

"Hold it." He opened the door, 
climbed inside. "The employees' gate. 
Think it's around on the other side. 
You know, where the actors go in." 

The cabby looked puzzled. "You 
going inside?" 

"No — waiting for someone. Park 
across from the gate." 

HE leaned back in the cab, lighted 
a cigarette, tugged down the brim 
of his grey hat. He was beginning to 
be excited. This had the flavor of the 
newspaper, when nothing counted but 
the story. Right now, nothing counted 
but getting to Caryl Winslow and ob- 
taining the testimonial fox Swanson 

The cabby wanted to talk. "She 
keep you waiting long? Them ac- 
tresses usually do, even with their 
boy friends." 

"I'm not her boy friend," Bill said. 

But he'd read so many stories about 

her during the past weeks, he almost 
felt he knew more about her than she 
did herself. 

Studio publicity called her myste- 
rious, enigmatic, devoted only to her 
art. But three years back she'd been 
unknown, a home -town girl from 
Brewster, Maine. Only, she was very 
pretty, with startling blue eyes and a 
slim, enticing figure, and a talent 
scout had arranged a tryout. Almost 
before she realized, she was swirled 
to the top. Probably scared, probably 
still trying to get used to the idea of 
being famous. 

It was only a few minutes before 
he spotted the (Continued on page 70) 

^town*, -jWlKu 



Color Portrait Series: 

Edtbata. ^tamvijck 

Appearing in Goldwyn's 

"Ball Of Fire" 

page S3 

l/etonlca. J-&ke 

Appearing in Paramount's 

"Sullivan's Travels" 

page 36 

Hamei Cla.gney 

Appearing in Warners' 

"Captains Of The Clouds" 

page 97 

Kobett <?t&ck 

Appearing in Lubifsch's 

"To Be Or Not To Be" 

vane 10 

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Seasoned reporter 
Louellg Parsons, the 
only movie columnist 
who is pounding out 
her daily stint now 
as she did in 'the 
first World War 

From the Canal Zone 
comes a letter to 
Louella from Gene 
Markey, proving he 
hasn't lost his 
sense of humor 

Colonel Lewis Stone is in charge of 
an evacuation regiment, makes Robert 
Young and Don Ameche keep in step 

THE persuasive editor of this maga- 
zine said suppose you write an 
article for me and compare it with 
the one you did for us in the Sep- 
tember 1918 issue of Photoplay on 
the first World War. Even though I 
was rushing home to Hollywood from 
New York to do last-minute Christ- 
mas shopping and frantically trying to 
finish my yearly article on notion 
pictures for the Encyclopaedia Bri- 
tannica, meet a column deadline and 
a few other odds and ends, I suc- 

cumbed to his request. After all I am 
rather proud of the fact that I am the 
on^y columnist who is pounding out 
her daily movie stint now as sne did 

After reading my 1918 article called 
"Propaganda," I realized that circum- 
stances have changed so vastly that I 
could hardly do a comparative article. 
In my original story I ranted against 
the Huns, bitterly assailed Kaiser 
Wilhelm and called on all men and 
women of German parentage to see 

the propaganda films we were making 
and join us in our fight for freedom. 

Today the Huns are called Nazis 
and the Kaiser has been gathered to 
his forefathers and is probably giving 
an account of whatever sins he com- 
mitted against humanity during his 
stay on this troubled globe. 

Also, our war activities are spread 
over a greater geographical area. We 
are fighting on two fronts — in the 
Atlantic against the Germans and the 
Italians and in the Pacific against the 


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Lieutenant Ida Lupino, leader in the 
Women's Ambulance and Defense Corps. 
Her hillside home is a chosen spot 

jgjs ^treacherous Japanese. 

While the war, at this writing, has 
\j a: not reached the continental shores of 
s j the United States it is still much 
jyjj ^closer to home than was the last war. 
cr This is a war for our very life and 
, jj {much more dangerous than was the 
first battle for democracy. The enemy, 
rea jthis time, is coming to us. 
A I In 1918, while the coast lines were 
j (j, [vigilantly guarded, there was never 
jjlj, |any danger of air raids or invasions. 
st (j |The distances (Continued on page 100) 

Hitler will prob- 
ably wish he had- 
n't been so ambi- 
tious when Jimmy 
Stewart gets 
through saying 
what he does 
over the radio 

Director John 
Ford won't talk 
— he shouldn't! 
As a Navy Com- 
mander, he's en- 
gaged now in a 
secret mission of 
great importance 
to the country 



« 5«r 

H* %i\ 



/ y (r 

Here you see the picture of a charming, 
alive, young American girl. Who is she? T 
actress who played the phlegmatic German 
girl in "Cheers For Miss Bishop'— Rosemary 
DeCamp, the female Muni of Hollywood 

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with a hundred faces 

So you thought the refugee mother in "Hold Back The Dawn" was 
a foreign actress? Wait until you find out who she really is! 

OLTAN KORDA was casting for 
an actress to play Sabu's mother 
in "The Jungle Book." She had 
o look a plausible sixteen when the 
;tory opened, ripening to not more 
han thirty. She had to have the 
)hysical characteristics which would 
nake her acceptable as an East Indian. 
#hat he needed was a young charac- 
er actress — a rare bird in Hollywood 
>r out of it. 

Victor Sutkar, casting director, 
aid: "What you need is Rosemary 

"You're crazy." This from an anony- 

ous bystander. 

"Ever seen her?" 

"Sure, in 'Cheers For Miss Bishop' 
—heavy, phlegmatic, with an accent." 

"You saw the character she played, 
lot the girl. Mind if I bring her in, 
Mr. Korda?" 

Korda, who hadn't seen her, didn't 
nind. Anonymous was present when 
Rosemary appeared, slim, graceful, 
tier attractive face clear-chiseled, her 
speech pure. His jaw dropped. "What 
in heaven's name did they do to you 
in that picture?" 

What they did was to broaden her 
jaw, flatten her nose, whiten her 
lashes, paste her ears down to make 
her look dumb, screw up her hair 
in a knot and stick her into a fat 
little round dress — a getup that scared 
the wits out of her mother when 
Rosemary got home the night of the 
test. Like Anonymous, Mrs. DeCamp 
moaned, once she'd recognized her 

>wn child: "What have they done to 


As Messua in "The Jungle Book," 

e looks more like herself than in 
either "Cheers For Miss Bishop" or 


"Hold Back The Dawn." Darkened 
skin and hair are the only concessions 
to make-up. They're beginning to 
call her the girl with a hundred faces, 
the female Muni. Personalities are a 
dime a dozen in Hollywood, but actors 
can be counted on the fingers of one 
hand, and actresses on fewer. That's 
why people are ringing bells for 
Rosemary. Zoltan Korda numbers 
her among the coming screen greats. 
He thinks she could play Cleopatra or 
Harpo Marx with equal grace. 

They wanted to see how she'd look 
as a siren, so they dressed her up and 
tested her in some Carole Lombard 
scenes from "To Be Or Not To Be." 
She looked like a siren. 

She regards this sudden zoom in 
her career with mingled satisfaction, 
amusement and incredulity. Holly- 
wood swatted her plenty before decid- 
ing to kiss her. She has the tentative 
air of one who doesn't quite trust this 
abrupt reversal and isn't too sure she 
won't be swatted again. 

Having bumped up against various 
brands of the Hollywood ego, from di- 
verting to obnoxious and — or — both, 
we should like to report that Miss 
DeCamp presents a pleasant novelty. 
She's modest without self-deprecation, 
quick to give credit to those who've 
helped. She has brains, balance and 
humor. Being an actress — even a suc- 
cessful actress, even a Hollywood star 
— won't make her the hub of the 
universe. Married to a young judge 
whose home is in Torrance — about an 
hour from Los Angeles — she travels 
back and forth as a matter of course, 
raises no to-do about love vs. career, 
aware that a reasonable person can 
handle both. (Continued on page 79) 


ch, 1942 

As Sabu's mother in Korda's 
"The Jungle Book," Rosemary 
DeCamp looks more like herself 
than in any other character role 




<<l J 



— and getting three things off his chest in this inter- 
view with himself: The rich-man's-son myth, the 
girl question and the only thing he fears 

HAT good do I think 
the "advantages" 
I've had have done 
me? The answer is none. 
This is a romantic business. 
The Cinderella story, even 
a male version, is the best 
background for any begin- 
ner. Remember how press 
agents used to dream up 
convent backgrounds, titles- 
in-the-family for their 
young players? No more. 
Folks like you better if you 
work up from scratch. 

Know what my real ad- 
vantages have been? The 
act that, before I was in 
pictures at all, I shot with 
Gable and Taylor, played 
olo with Spence Tracy, 
alt Disney and Bob Mont- 
;omery. I got to know these 
men, apart from their work; 
bund out what regular guys 
they are, how little affected 
y all the fame and flattery 
ey've had. Unconsciously 
r subconsciously, they 
"conditioned" me the same 
way. You could never go 
riously Hollywood or big- 
e after knowing them. 
They are the best text books 
or any beginner in movies 
study. They should open 
a school! 
Speaking of my "advantages," I'm 
ncerned about all the "money" pub- 
city I've been getting. It puts me in 
a false position with my fellow- 
orkers and with the fans. It would 
be one thing if it were true. I'd have 
to take it. But it is not true — and I'm 
not going to take it. Not if I can 
help it. Maybe I can help it by telling 
the truth about it. 
The truth is this: My father was 

MARCH, 1942 

"Kids in the movies are less self- 
conscious in their off moments than 
any kids I've known." Bob and pal 
Lana Turner caught being natural 

a businessman, advertising. Dad and 
Mother separated when I was a small 
youngster. My brother Jim stayed 
with my father. Mother and I went 
■abroad and lived in Paris for some 
years. Later, we came back to this 
country. Mother and Dad remarried 
three months before he died. 

All this bologny about my having a 
lot of money is just that — bologny. 
Dad did leave an estate, of course. 

Ten years ago it would have 
been a considerable estate. 
This is not ten years ago. To 
say that it is, or will be, a 
nice substantial amount is 
to say it all. But — I don't 
get any of it, any of the 
principal, I mean, until I am 
thirty-five! By that time, 
you know as well as I do 
what may happen to the 

Now, I have a small al- 
lowance. As an indication 
of what that allowance is, 
my brother, who gets half 
again as much as I do, can't 
even afford to live in the 
house that was given him 
when he married recently. 
He lives in an apartment. 
We haven't as much, be- 
tween us, as Mickey Rooney 
makes in six months. But 
that's different, I know. 
Mickey makes his. The 
thing people resent is when 
they think a fellow is blood - 
kin to a playboy, working 
for the fun of it. I don't 
blame them. But I'm not. 
Now that's off my chest! 

Honestly and truthfully, 
I'm anything but the rich- 
man's-son type at heart. I 
hope I don't act like one. 
If I do, someone is welcome 
to turn my own gun on me. 

You see, I was brought up by a 
very strict French nurse in Paris. 
Mother had a very small allowance 
when we lived there. Economy was 
our watchword. And so if we had left 
food on our plates — as we're leaving it 
today — they would have thought us 

I was conditioned to that kind of a 
life as a kid. (Continued on page 66) 


bap^ - a ap^itdtute 

Editor's Note: Miss Hopper is given the widest latitude in her articles 
for Photoplay-Movie Mirror. Her opinions are not necessarily those 
of this magazine. — E.V.H. 

They'll end 
up the same 
way: Betty 
Field and 
Alan Marshal 

r fou Wif h 0n 

WELL, here we go again for a 
little truth-telling, fact-find- 
ing, boos, bows, cheers — and 
bologny. I don't know why they ask 
me each year for my own particular 
awards, unless it's because no one else 
in Hollywood has the courage to stick 
his neck out to have it stepped on as 
many times as I. But I always 
say one good kick deserves another 
and since I'll be hung anyhow, no 
matter what I say, I'd rather be hung 
for a sheep than a lamb — so here goes! 

Best all-round man (and why) in 

Jimmy Stewart, because he could 
have skipped the draft, being under- 
weight, instead of which he stuffed 
himself for months, putting on neces- 
sary poundage to get into the Army. 
He's asked no favors and when a 
lot of the boys were released be- 
cause they were overage and Jimmy 
had a perfect right to be released, too, 
he said "Nerts to that! I'm going to 
stay for the duration." For example 
and morale, there's nobody in town his 
equal 'cause who knows when we'll 
come out of this — or if, when we do, 
people will still want him as a star. 


Best all-round woman (and why) in 

Bette Davis, who's not only con- 
tributed to many charities but con- 
tinues to fight her weight in wild- 
cats for herself and fellow actors, as 
she did all through 'The Little Foxes." 
Took an awful beating on the chin 
when Director Willie Wyler gave an 
interview about her which was none 
too complimentary; behaved as a wife 
should, when her husband was strick- 
en with pneumonia and she had to fly 
back to the Middle West; and because 
she's been our only woman president 
of the Motion Picture Academy. 

Most popular woman (and why) in 

Barbara Stanwyck, because Bar- 
bara wears the same size hat she 
did when she arrived here. When 
she helps others, which she does 
practically daily, she requests no pub- 
licity. Her charity doesn't consist of 
money alone — there's a little crippled 
girl I know of who's been bedridden 
for a long time. There's never a week 
goes by that Barbara doesn't visit her 
bedside and I really mean visit, not 
just dash in and out and show off her 

new clothes. She sits down for an hour 
or two and has never been known to 
go empty-handed. 

Least popular woman (and why) in 

Jean Arthur, because she's the 
least co-operative with the press 
and she's known less than any girl 
here. In fact, I don't know any other 
player of star quality who's ever really 
got close to Jean. As far as Holly- 
wood's concerned, she might just as 
well be locked up in a glass case. Now, 
blame it on shyness or what you will, 
hers is a name that when mentioned 
causes no reaction whatever. 

Most entertaining man (on the screen) 
in Hollywood: 

Bob Montgomery, because his per- 
formances in "Here Comes Mr. Jor- 
dan" and "Unfinished Business" were 
as far apart as the poles and proved 
not only that he's a fine actor but a 
splendid comedian — and I calls that 

Most entertaining man (off the 
Reggie Gardiner: Also one of the 

photoplay combined with movtx muuioh 

Let the Academy hand out its little 
Oscars! Our own Hedda looks 
back over the year and lets the 
orchids — and the scallions — fly 

/LaM5 W, 194 

H f D D \ I H r P E R 

Hedda insists 
Bob Taylor is; 
Vic Mature just 
thinks he is 

*>°° c°* S ° i 

e° C %aO * e 


most affable. In fact, he gives so 
many brilliant performances off 
screen and is so generous with his 
entertainment that the producers see 
them free and then won't pay him to 
put them in pictures. 

If I suddenly found myself in a 
padded cell and had my preference of 
Hollywood men, I'd certainly take 
Reggie Gardiner. 

Most likely to succeed during 1942 
(male and female): 

Well, last year I chose John Carroll 
and Lana Turner — they haven't done 

This year keep your eye on Alan 
Marshal and Betty Field. 

Most likely to fade out during 1942 
(male and female): 

Don Ameche and Greta Garbo — be- 
cause Don has never been properly 
:ast and, in the case of Greta, even 
Dulmotors failed to work in her last 

Done most for Hollywood: 

Walt Disney. But the one who's 
gotten the name for doing the most is 
Doug Fairbanks Jr. 

MARCH, 1942 

Done Hollywood most: 

Willie Bioff, who's now on his way 
to a vacation at Alcatraz, instead of 
Arrowhead Springs or Palm Beach. 

Handsomest man for 1941: 
It's still Bob Taylor. 

Thinks he is: 

That "Hunk O' Man"- 

-V. M. 

Most brilliant for 1941: 
It's still Orson (Annie) Welles. 


Bing Crosby — and he's run that 
asset up into a five-million-dollar cor- 

Guy Kibbee. 

Most generous: 

Cary Grant, because he's donated 
to war charities his salary from two 
pictures, amounting to a quarter of a 
million dollars. 


Errol Flynn — and Greta Garbo's 
no slouch, either! 

Most beautiful woman: 

Hedy Lamarr's still head and shoul- 
ders above them all. 

Thinks she is: 
Pat Dane. 

Best hostess: 
Mrs. Jack Warner. 

Thinks she is: 

Mrs. Eddie Robinson. 

Best figure: 

Lili Damita- 
the screen. 

-too bad she's not on 

Most talked about for 1941: 
By all odds, Rita Hayworth. 

Most talked against: 
Paulette Goddard. 

Talks most: 
Gracie Allen. 

Says most: 
Dorothy Parker. 

Most generous: 
Mrs. Jimmy Gleason. 

(Continued on page 86) 


Henreid startled the 

Strangers to each other, to America, Michele Morgan and 
Paul Henreid enacted as great a love scene as was ever 
caught by a camera. This is the story behind that kiss 

HE wore a blue frock, the color 
of the sky, not so very much of a 
frock for all its heavenly hue, 
out the prettiest she had ever owned. 
She confided this, shyly, to the man 
who had given it to her. And her eyes 
were bluer than the frock and her 
anile a lovely thing to see. 

He wore a shabby suit and suffering 
vas written on his face. But he was 
all and handsome and strong and his 
irms, gentle with tenderness when he 
)ut them around her, carried ecstasy. 
ie kissed her and the war-torn, 
veary world slipped away; the shabby 
ittle room in Paris — the dreary, hope- 
ess Paris of today — was suddenly 
,'lorified. His kiss was demanding and 
[ong. Whatever of terror and doom 
ivere held by the future, this moment 
vas theirs to eternity and beyond. 

"I love you," the man said, his lips 
n her soft, brown hair. 

"And I — " but even before her an- 
wering whisper was complete, his 
ips were again on hers. 

Then— "Cut!" cried Director Robert 
Stevenson. The cameras stopped roll- 
ng. And a great, concerted sigh arose 
unong those on the "Joan Of Paris" 
;et at RKO studios, who had watched 
J aul Henreid and Michele Morgan 
)lay their first love scene. If there 
lad been doubts on the lot as to the 
visdom of giving to two foreign play- 
ers starring roles in a million -dollar 


production — and there had been a 
good many doubts — they were gone 
now! These two, the handsome Hen- 
reid and the little Morgan whose 
charm is more elusive yet more capti- 
vating than beauty, had shown what 
they could do, and that it was plenty. 
Six thousand miles across an ocean 
and a continent they had come, 
strangers to America and to each 
other, to play, in "Joan Of Paris," as 
thrilling a love scene as ever was 
filmed by a Hollywood camera. 

But who are they and what are they 
— this Michele Morgan and Paul Hen- 
reid? Well, we could tell you a good 
many things in answer to that. We 
could tell you that Michele Morgan's 
real name is Simone Roussel, that she 
is French, the daughter of a well-to- 
do exporter; that, young as she is, she 
has played in such important French 
pictures as "Renocque" ("Tugboat"), 
"Untel Pere et Fils" ("John Doe and 
Son") and "Port Of Shadows," most 
of them with Jean Gabin, the great 
French star; that she is twenty-one 
and has never been married. 

We could tell you that, from child- 
hood, she dreamed of being an actress 
and a great star in America; that in 
June, 1940, with her country in ruins, 
many of her family dead or prisoners 
in Occupied France, she made her 

way deviously, painfully, fearfully, 
from her home in Dieppe, on the 
Channel coast, to Cannes, to Mar- 
seilles, to Cerebere on the Spanish 
frontier, to Barcelona, to Lisbon, to 
New York, to Hollywood. RKO had 
seen her French pictures; had offered 
her a contract. 

We could tell you that Paul Hen- 
reid is Baron Paul von Hernried, an 
Austrian, born in Trieste when Trieste 
was a part of the Austrian Empire, 
and reared in Vienna; that his father 
was Baron Carl Alphonse von Hern- 
ried, a native of Sweden but for many 
years a prominent Viennese banker 
and before the first World War finan- 
cial adviser to Emperor Franz Joseph; 
that Paul was educated for the diplo- 
matic service but, when the family 
fortunes were depleted by the post- 
war depression in Austria, became a 
publisher and later an actor of note 
on the London, as well as the Aus- 
trian, stage and screen. We could tell 
you that he is thirty-three and mar- 
ried; that in August, 1940, after spend- 
ing several years in London, he and 
his wife came to New York, where 
Paul was signed by Elmer Rice for 
the Broadway play, "Flight To The 
West," and was an instant hit; that 
this success, coupled with the timely 
release of "Night Train," won him his 
contract with RKO. You remember 
"Night Train," (Continued on page 92) 

knee's Michele 
irqan in a Joon- 
j[Arc pose, slen- 
'. r boyish— and a 
U | Y great actress 

The man about whom most peo» 
pie want to know more: George 
Sanders, Hollywood enigma, 
versatile actor, top draw 
of Fox's new "Son Of Fury" 

HOW 10 01 A 




Universale "Paris 
Calling" boasts of 
smooth actor Rath- 
bone; Basil boasts of 
charming wife Ouida 

THIS is no time to think of enter- 
taining on the grand scale. Who 
has the heart to concentrate time 
and energy on a big formal party 
when the world is torn with fear and 
hatred? I know Basil and I — and we 
get a great deal of fun out of giving 
a party — can't do it Every minute 
we have been able to spare from the 
business of earning a living has gone 
into work for war relief. And I am 
sure most of you everywhere in this 
country share our feeling that life 
these days is an earnest matter. 

It doesn't follow, however, that just 
because women are no longer direct- 
ing their energy to formal entertain- 
ing that they must stop being good 
hostesses. Entertaining six or eight 
friends informally can prove just as 
enjoyable an occasion as giving a 
large party. Only the approach must 
be different. 

One of the most delightful informal 
parties I ever attended in Hollywood 
was a small supper given by Marlene 
Dietrich. When we were seated, Mar- 
lene — who had added to the infor- 
mality of the occasion by choosing to 
wear hostess pajamas — marched into 
the kitchen, returning a few minutes 
later to set the bowls of soup before 
the guests herself. 

Then she went around the table, 
buttering (Continued on page 77) 

MARCH, 1942 

You'll be asked to every party 

going and you'll have men begging to 

come to yours if you lend a sociable ear to 

one of Hollywood's cleverest hostesses 

Party that will go down in Hollywood social his- 
tory is the one Ouida Rathbone gave for pianist 
Arthur Rubinstein. Below: Mr. and Mrs. Rubin- 
stein, Ouida, Grand Duchess Marie of Russia, 
Basil, Marlene Dietrich and violinist Heifetz 




Benny bil's-ond-coos over Barbara Stan- 
wyck, sends her a valentine, gets a nice 
comeback from wife Mary Livingstone 
Benny, engaged at the same party in be- 
ing the "light" of Robert Taylor's life 

Cross your heart and hope-to-die-laughing while Jackson goes tender 
in public — thereby saving eight postage stamps! 

violinist from Waukegan, Illi- 
nois, who at last reports was 
in the velvet (see opposite page) as a 
dreamy-eyed Hamlet in Lubitsch's 
'To Be Or Not To Be," had invited 
a few friends to an informal tonsil- 

Among those basking in the genial 
effulgence of the Zany Zimbalist were 
Phil Harris, baton wielder and cele- 
brated blonde fancier; Corporal James 
Stewart of the United States Armed 
Forces; Henry Fonda,, a thespian; 
Don Wilson, said to model bomber 
fuselages; and Mary Livingstone, alias 
Mrs. Jackson Benny. 

Night was falling, as it has a way 
of doing, even in fabulous Hollywood, 
when the Good Gray Host reflected: 

"The United States Postal Service," 
he said, apropos of nothing in partic- 
ular, "is a splendid institution, but it 
has its drawbacks." 

'Too expensive, Jackson?" inquired 
Mr. Harris. 

"No, of course not," snapped econ- 
omist Benny, "I didn't mind that in- 
crease in the price of stamps at all. 
It was for a good cause and I pay 
the extra cent willingly. Besides, you 

MARCH, 1942 


can take it off your income tax." 

He hadn't yet said what was the 
matter with the postal service. You 
didn't have to wait long for someone 
to remind hirh of that oversight. Not 
with Mary L. Benny around. 

"I suppose he's sore because they 
don't give out calendars at Christmas 
time," said she, sweetly. 

"I hadn't thought of that," mused 
Mr. Benny. "Remind me to write to 
someone in Washington about it. 
What I was getting at, though, was 
that there are too many postal regu- 
lations. A man can't send everything 
he wants to through the mail" 

"You can't send me and the rest 
of the radio show, if that's what you're 
getting at," said Mary. "They don't 
have uppers in the mail coaches." 

"I mean you can't say what you 
want to say and send it through the 
mail," protested Mr. Benny with hus- 
bandly indulgence. "Now you take 
this valentine business. I'd like to 
send a lot of valentines, but I couldn't 
get them through the mails." 

"Such as?" inquired Mr. Basil Rath- 

bone, who had just joined the party. 

"Hello, Mr. Rathbone." Mr. Benny's 
greeting was cordial but preoccupied. 
"For instance, take Barbara Stan- 
wyck. I've got a valentine I'd like 
to send her, but I'm afraid that Bob 
Taylor'll get hold of it and kick up a 
fog about sending it through the mails 
and I might have to go to jail." 

"Worse than that," suggested Mary, 
"you might have to pay a fine." 

"Yes ... I mean, no!" Mr. Benny 
was a little annoyed. "But I really 
would like to send Barbara a val- 

"Such as what?" asked Jimmy 
Stewart, curious at last. 

"Well, er ... I do have it written 
down ..." The poet Benny spoke 
bashfully. "Listen, how's this? 
"Dear Barbara: 
How often I sit by my mirror at night 

(And sit, my lovely, and sit) 
Wishing that Taylor would fracture 
his nose 
And I'd get a toupee that fit." 

"That's fine business," exclaimed 
Mary. "You write valentines to Bar- 
bara, but you don't write any to me. 
How'd you like it if I sat up all night, 
running up (Continued on page 109) 


Jh)iee J ittte i ileum In MtoD 


photoplay combined with movie mirror 












/'W: A/; 



op, o /A e 
^'WI >o° 

Pu^'s noV . or, 

W s 


his is breakfast, partaken of 
uickly in the alcove, apt to be in- 
errupted by individual recitations 
f scripts memorized the night 
efore — with all criticism free 



TS a long hard climb up the hillside path 

out in Laurel Canyon; but then, most any 

climb in Hollywood is long and hard. Be- 

ides, it's worth it — and these three girls have 

und that out. In the first place, the Laurel 

nyon path leads to a gem of a little house 

it they share together. In the second place, 

ey've already conquered the primary steps 

nd stones of the Hollywood path and emerged 

s first-rank contract players on the Warner 

at. You've seen them in "The Male Animal" 

ilaying their role to their ambitious bests; 

ou see them now in a "just we girls" mood. 

Cozy cricket-on-the-hearth scene is in 
reality hard work. The girls are spending 
the evening studying scripts, helping 
each other to read, interpret, memorize; 
helping each other, perhaps to stardom 

MA8CH, 1942 







*. «<"%>* 





'9 h k* Fil"* 



IN a peacetime England, Prudence Cath- 
away would never have met Clive Briggs, 
for her family was old and wealthy, and 
his might have been old, but it was never 
wealthy. But in wartime, things were dif- 
ferent. Prue had joined the WAAFs — the 
Women's Auxiliary Air Force — as a private 
and one night she met Clive, the friend of 
the young man who was "walking out" with 
Violet, Prue's neighbor in the WAAF bar- 
racks. Almost from the first moment she 
saw him, Prue knew she would do whatever 
Clive asked her to do, go wherever he wanted 
her to go. 

But there was something strange about 
Clive. He wore a tweed suit in a time when 
every other strong young man in England 
wore a uniform. He knew the sound of 
bombers, which were "ours" and which were 
"theirs." To Prue's passionate conviction that 
England was worth fighting for, dying for, 
he opposed a bitter, fierce hatred of the war 
and of the proud, wealthy people for whose 
benefit, he said, it was being fought. And at 
night, in the resort hotel where they went 
to spend Prue's leave of seven days, she 
heard him crying out in his sleep: 

"Come on, you fools! Come on out of it! 
It's no good . . . no good!" 

At last, when her leave was half over, he 
told her his story. He had been in the army. 
He had been in France, and at Dunkirk; had 
seen the horror of those last days before 
France fell. Now he did not believe the war 
was worth winning or that when it was over 
the world would be any better for people 
like himself, born and reared in poverty and 

"Can we be married then — when 
you come back?" Clive asked halt- 
ingly. Prudence's answer came 
through a throat suddenly constricted 

lustration by Vincentini: Joan Fontaine as Prue; Tyrone Power os 1 


photoplay combined with movie mtobof 

want. And so he was going to desert, rather 
than fight any longer for something in which 
he did not believe — even though deserting 
meant he would be tracked down, arrested, 

She knew he was not a coward, for on the 
night after his confession there was an air 
raid and his courage then was all that quieted 
her own terror. 

The next morning, when she woke, he was 
gone, leaving only a note: "Where I am go- 
ing, I don't know — and I don't care. Good- 
by — and our coming from the darkness into 
the fight of knowing each other was very, 
very sweet." 

HE had been ill after Dunkirk and that 
was why he had been given a leave for 
most of the summer. He thought he had 
recovered completely, but that day's walking 
left him weak and exhausted. At dusk he 
was stumbling along the side of the road 
when a lorry stopped and the driver offered 
him a lift. But after all, he could not ride 
very long, because the lorry had to stop at 
a military barrier and before they could ask 
for his identity card Clive had jumped down 
and was running across the fields, hidden by 
the darkness. 

He spent the night in a barn, warmed by 
the hay into which he burrowed. Its smell, 
a little sweet and a little sour, reminded him 
of a rainy night in a hay-rick near Gosley 
and as he slept he dreamed of Prue, .of the 
softness of her lips under his, the eager 
young strength of her arms about his neck. 
He woke and for an instant was happy, be- 
cause things seemed so simple: he would go 
back to the Army and he and Prue could be 
married. But then the old sick feeling of 
disillusionment came and he knew not even 
Prue could help him to change his mind 
about what he believed. This war was a 
fraud and if, believing that, he went back to 
the army, he would be a bigger coward than 
if he remained a deserter. 

It was dawn when he woke to see a 
bearded face peering down at him suspi- 
ciously. He jumped up, explaining, "I slept 
here — I'm on a walking trip." 

The man had a pitchfork in his hand. He 
said, "You ain't on no walking trip. Where's 
your haversack?" He moved closer to Clive, 
the pitchfork raised menacingly. "There's a 
spy loose around here — we got the word last 
night from the soldiers. You better come 
along and explain yourself." 

With a quick movement, Clive wrenched 
the pitchfork out of the other's hands and 
flung it into a far corner. Then he tried to 
duck past and get out, but the man barred 
his way. In sudden fury, Clive struck him 
full in the face and he fell. 

It wasn't until he got outside that Clive 
noticed his hand was bleeding from a deep 
cut inflicted by the iron binding of the pitch- 
fork. He wrapped his handkerchief about 
the wound and went on. But he knew that 
they would be after him now; the whole 
countryside would be roused, thinking there 
was a spy, perhaps a parachutist, in their 
midst. He would not be able to get food or 
lodging, because his (Continued on page 82) 


garbo's daring new plan of life, pre- 
scribed for her by this eminent psychologist 


ARBO making appointments 
with a consulting psychologist! 
Garbo seeking a cure for pho- 
s! Garbo emerging from the 
dows where she has hidden since 
e arrived in Hollywood! This is a 
w picture of the Swedish star whose 
ysterious, lonely life has intrigued 
le world. 

Defying the ban of silence that has 
irrounded her, Dr. Eric Drimmer, 
oted psychologist who won world 
|?cognition when he was appointed to 
lie royal family in Sweden in 1933, 
not afraid to speak up about Garbo. 
i this he stands alone. Heretofore, 
iends who dared mention Garbo's 

Re ran the risk of never seeing her 
!hat has all got to stop if Garbo 
Sally wants to cure her phobias," 
tys Dr. Drimmer. "The first step 
♦ward the cure is to lay her fears 
it on the table where all the world 
ui see them. 

"I say world, because that is exactly 
hat I mean. World-wide publicity 
jilt up phobias that made Garbo 
terally hide from the world. World 
ablicity must break down these pho- 
ias if she expects to resume life as a 
ormal human being. It is for her good 

I, 1942 

that I consent to talk about them." 

The good-looking blond Dr. Drim- 
mer, who is six feet, four inches tall 
and weighs two hundred and ten 
pounds, was born in Sweden and 
spent most of his life there. Seated 
at his desk in his Beverly Hills office, 
he spoke seriously. It was obvious 
that this thirty-four-year-old doctor, 
who had been called in to treat such 
famous persons as the former King of 
Egypt, Princess Alice of England and 
the Khan of Persia, spoke with 

That Garbo is well started on a 
cure seems evident. While making 
"Two-Faced Woman," she kidded, 
laughed and danced with gay natural- 
ness. People on the set were asking, 
"What has come over her?" She goes 
shopping openly in Hollywood. She 
lunches at the Jones Health Restau- 
rant in Beverly Hills. 

The story behind Garbo's attempt 
to understand herself clears up the 
Garbo mystery, which apparently has 
been as bewildering to Garbo as to 
the world. 

"Fear of being caught in a crowd," 
explains Dr. Drimmer, "fear of stran- 
gers approaching her for autographs, 
fear even of her fellow workers in 

the studio, were as real to Garbo as 
the fear you or I would have on com- 
ing face to face with a wild animal. 
Her impulse is to turn and run. To 
understand this it is necessary to go 
back into Garbo's childhood. 

"Born into a home of nonintellec- 
tual parents — her father was a day 
laborer — Garbo's childhood fluctuated 
on a plane between two points: plea- 
sure and pain. This is the plane a 
large per cent of people the world 
over dwell upon. Work, illness and 
poverty come under the heading of 
pain. Food, home and comfort come 
under the heading of pleasure. 

"Into this limited environment ar- 
rived Garbo. But Garbo was born 
with something neither her parents 
nor her brother and sister possessed. 
That was the seed or pattern of a 
definite type of artistic personality. 
Each one of us is born with a seed 
or pattern for life. It is the urge 
or force that continually cries out for 
expression. Unless a person finds a 
way to bring out this pattern, which 
means a development of perfect coor- 
dination between mind and body, he 
is never entirely contented or happy 
or even successful. 

"During (Continued on page 87) 



What the ladies rated in '92 was a bonanza— and 
to prove it we quote some old rules. But cheer 

up, we stage a modern revival for you in '42 


Watch our dust — 1892 version: 

"A considerate driver never whips up his horses or starts his motor vehicle 
until his companion declares herself comfortable and prepared to progress." 

Now, in 1942, do you get so much as a "Ready, get set, go?" from the 
gallant swain? No you don't! You're jerked off in the jaloppy before you 
know it and before you know it, too, you'll lose your "motor bonnet" unless 
you're smart enough to wear one of those nice little knit helmets in a bright 
shade to match the flannel lining of your chinchilla cloth box coat. 

"Invariably a gentleman when driving, asks permission of his feminine 
companion before venturing to smoke. But a punctilious gentleman never 
smokes when ladies occupy his vehicle except on country roads." 

That was fifty years ago, remember! So today, you can solve the smoke - 
gets-in-your-eyes problem by wearing an outfit like Gene Tierney's on page 
60. The shako will keep your present-day punctilious gentleman's mind off 
cigarettes and on you! 

On a bicycle built for two: 

1892: "Manly consideration of inferiority of strength is the first rule when 
men and women cycle together. The gentleman permits the lady to set the 
pace, increasing or retarding his progress to suit her strength." 

1942: It's still our favorite sport — more fun, more bruised knees! But if 
you're not so good on a bicycle you'll keep the swain who thinks "inferior 
strength" is synonymous with "sissy" ambling along right beside you if you 
look helplessly seductive in a soft fitted white wool jacket over your dark 
wool skirt and a little embroidered Dutch cap set just back of your pompadour. 

Just think of this tremendous problem in '92: "Cattle herded and loitering 
in country paths are a frequent menace to the wheelwoman's peace of mind 
and a squire of dames should, when confronted with such an obstruction, 
advance and disperse the animals." 

Which all means today that when you're out cycling you're a wheelwoman 
and should keep your presence of mind because ten to one the 1942 brother 
isn't going to "advance and disperse." But even the cows (not to mention the 
big bad wolves) will make a passage for you if you're wearing grey flannel 
slacks with mechanic pockets and a grey flannel windbreaker to match. 

Now, lest gentlemen make improper advances in "92: 

"It is not permitted, however rainy the day may be and however fine andl 
fresh her unprotected bonnet, for a lady to accept the shelter of an umbrella! 
offered by a man who is a stranger to her." 

Horrors of horrors! Imagine letting a Perfect Stranger hold his umbrella 
over your new hat. Nay, nay, Pauline, not the 1942 gal. Instead, she wearsi, 
a waterproof greatcoat of red, white and black plaid and keeps tucked in: 
the pocket a little cellophane hood to keep rain — and strange umbrellas — away., 

"When meeting men acquaintances a lady bends her head slightly, looksi 
directly at the person recognized and accords him, at the same time, a slight 
smile or an amiable glance." 

A-ha! They used the same technique then. All you have to remember now 
is to bend the head and smile at the same time, meanwhile exposing a halo 
hat like the one on page 59. The results will be the same as fifty years ago. 
The line will form to the right, you'll be asked out to dinner and then you 
can wear your new black lace dress and the same sheer black silk stockings 
that made a hit in '92. 

So those days are gone forever? Not by a long shot, sister! 

photoplay combined with movte 


# '*»■ 



Oleg Cassini, 


of Gene Tierney 


1 Double-feature fash- 
)ns designed by a hus- 
and, worn by a wife, 
or Gene Tierney in 
ressburger's "The 
hanghai Gesture," Oleg 
' Cassini creates a dinner 
ress of pale blue alix 
srsey with drape falling 

»om a jeweled cluster 
f flowers at the waist 
tthe knee and then 
inging back up into a 
ide girdle at the neck 

' BCH, 1942 

Photosraphs by 
Ned Scott 


• Suited to the March tempo is this town suit of black broadcloth with its roll lapel of velvet that narrows at the waist 
and then widens to accent the jacket's circular flare. Cassini takes a halo of black velvet, fashions it into a hat, uses 
it to make a perfect model of Miss Tierney. Black antelope bag and gloves are "wear with everything" accessories 

• Salient points of the suit blouse: 

The heavy white silk crepe material 

. . . the unusual neckline that, under 

the jacket, looks like a soft scarf 

IHABCH, 1942 

«,k\e * rorn 


photoplay combined lotth movie mirror 

» This is what Hollywood calls a "crea- 
lion" — a pale pink mousseline 

e soie topped with sheer 
Hack net. Huge clusters of 

rapes clipped from black lace swirl 

ver bodice and skirt; the 

eplum is stiffened to stand 
lut pertly. A lo-and- 
■ehold look at 

»ene as the 
^Shanghai" Poppy 

*> -- 




The small "Skippy" and 
his mother: Jackie and 
Mabel Cooper Bigelow 

JACKIE COOPER has lost his 
mother. But Mabel Cooper Bige- 
low, unlike many mothers, never 
lost her son. Not Jackie's fame, not 
his maturity, which came early, not 
his love for Bonita Granville, which 
has increased immeasurably during 
the past year, could take him from 
her. At the end he risked the respect 
and affection of his coworkers for her 
sake. For him there was no other 
way. But that is our story. . . . 

Early on a November morning, 
when it was not yet wholly light, 
Jackie reached over the covers to shut 
off the alarm clock that stood on his 
bedside table. The eucalyptus tree 
outside his window was turning yel- 
low. There was a high fog. It was a 
day when a fellow who had just fin- 
ished work on a new picture and had 
had an early call every morning for 
weeks would want to sleep. Reluc- 
tantly Jackie threw off the covers and 
swung his legs in the general direction 
of the floor. His day was booked solid 
with studio conferences, interviews, 
sittings for portraits and other ap- 
pointments postponed while he was 
in production. 

He was at breakfast when his 
mother's nurse came to him. He knew 
before she spoke. 

"You think it's — serious," he said, 
substituting an equivocal word for the 
final one that had first come to mind. 

photoplay combined with movie mirror 

j, tea* '" ' . , tert 
6 .. ******* 



X * 





. . . and Hollywood pays homage: 
Jackie and his mother at a 
birthday party he gave for her 

iad a Jjikiid wamA moU 

The nurse nodded. 
After a minute Jackie said, "There 
quite a few important things, I 
;ht to do today." It wasn't his 
pointments he was pleading for, but 

However, no reassurance was forth- 

"I know that," the nurse told him 
ntly. "But I thought I should tell 

Jackie didn't wait to hear any more. 
i went directly to his mother's room, 
trough the years he had given her 
my things, tangible and intangible, 
t the smile he wore that morning 
is the greatest thing he ever gave 

At nine o'clock he telephoned the 
idio. He told the executives with 
10m he had conferences, the pub- 
ity men in charge of his interviews 
d the cameraman who was to take 
5 pictures that he would not be 
ire. And he made no explanation. 
"Cooper's getting more difficult and 
co-operative all the time," they 

They had been saying this all sum- 
ir, as Jackie turned down invi- 
;ion after invitation to be an honored 
est or a master of ceremonies at 
rious benefits. But now there was 
ncor in their voices. 
Jackie realized this must be so; but 
sre was nothing he could do about 

bch, 1942 

it. If he explained it was because of 
his mother's illness that he refused 
invitations and broke appointments, 
her illness would have had publicity 
and the whole truth soon would be 

He wouldn't allow this to happen. 
His mother read the papers and 
listened to the radio avidly, watched 
and listened for any word of Jackie. 

AS it was she never knew. When 
she died her room was filled 
with the presents she loved to give 
at Christmas time; six and seven for 
the same person if she happened to 
think of that many things to please 
anyone. And during the months when 
the hopelessness of her illness became 
constantly more apparent there never 
was a time she didn't plan what she 
and Jackie would do when she was 
up and around again. No one ever 
will know the cost to Jackie of the 
performances he gave at these times, 
when he, too, appeared to plan. 

Helen Ferguson, his personal pub- 

•licity representative, fits into place 

some of the missing pieces of what 

Jackie was doing those last months of 

his mother's life. 

"He took a house at Malibu for the 
summer so his mother would have 
the ocean outside her windows. He 
gave her practically all his spare time. 
Bonita went to his house for dinner 

and they sat with Mabel in the eve- 
ning. Fortunately Jackie and Bonita 
feel the same way about a lot of 

"For months they didn't have a 
Sunday jam session. The house used 
to be bedlam, you know, with Jackie 
playing the drums and a dozen other 
kids playing a dozen other instru- 
ments. And everybody raiding the 
big icebox for pop and coke and 
franks and hamburgers. 

"The gang would still go to see 
Jackie but they would just sit around 
and talk, quiet as mice. And you 
couldn't get a word about Mabel's 
illness out of them. I wonder some- 
times what Jackie threatened to do to 
those who knew, if the truth ever 
leaked out." 

"Someday," she concluded, "some- 
one ought to write the story of Jackie 
and Mabel." 

It isn't, we find now, an easy story 
to write. It's almost impossible to 
give any picture of these two without 
making them seem soft and senti- 
mental. And they never were those 
things. There was something almost 
casual about them. They were like 
two guys who had met somewhere 
and, traveling together, forged a bond 
deeper than either of them knew. 

Mabel didn't know Jackie when he 
was a baby. She left him, of necessity, 
when he was (Continued on page 102) 


Loretta Young, said by some 
to be the most beautiful wo- 
man in Hollywood; said by 
all to be a top-notch hit in 
Columbia's "Bedtime Story" 


The truth about Hollywood castiog 

jThese are the things you're never told — 
the behind-the-scenes battles your 
favorites wage over top roles 



"Ball Of Fire" simply because 
Ginger Rogers refused to be, but 
the reason Ginger will be in "The 
Major And The Miner" was because 
Babs was in "Ball Of Fire." And you 
can learn the truth about Hollywood 
casting from that. There is, you see, 
a story behind the fact. 

In other words, there is always 
more in any casting than meets the 
eye. Behind the securing of any good 
role there is always a casting story. 
One girl's starring vehicle is another 
girl's poison and there's many a slip 
between the script and the box office. 
Or perhaps it would be more accurate 
to say that there is many a tug of war, 
many an intrigue, and the star who 
snares the strongest roles wins the 
brightest career. 

Good roles don't just happen to 
stars. Not any more. In the old 
leisurely silent days when it was noth- 
ing exceptional for the shooting time 
on a picture to be from six months 
to a year, a girl could go into any 
production and know that, before it 
was finished, she'd have a characteri- 
zation written in for her, scene by 
scene. But today when many a major 
production spends only three weeks 
on the sound stages, there is no time 
for such theatrical doctoring. There 
are not enough good roles to go 

Comes, then, the intrigue. 

The truth about Hollywood casting 
today is that it seldom takes place in 
the casting office. Relax. It doesn't 
take place, as the lurid tales used to 
have it, in romance, either. Good 
casting these days is based in almost 
equal parts upon the box-office stand- 
ing of the star, subtle politics and 
shrewd campaigning. Almost every 
top star yells for the right to select 
roles and gets that right. As long as 
she or he picks correctly — and the 
"she" of casting is much more impor- 
tant than the "he," as you will pres- 
ently discover (Cont'd on paqe 103) 

Real reason why Gin- 
ger Rogers will be in 
"The Major And The 
Miner" is — Stanwyck! 

It was unintentional, 
but George Raft gave 
Bogart his golden- 
role opportunity 

Shirley Temple loses 
many a chance be- 
cause of her mother's 
ideas on her career 

MARCH. 1942 


"I'm No Cinderella Boy" 

(Continued from page 41) You know how 
youngsters are nowadays, continually 
running to their parents for a dime to go 
to the movies. Nothing like that for me! 
I couldn't go unless I had done my work, 
taken my nap, practiced or whatever was 
required of me at the time. Point is, I 
had to sort of earn what I did and had. I 
always knew the value of a dollar. I 
always had a good, healthy respect for 
a dollar. I still have. That's what burns 
me when I read or hear that I'm heir 
to "eight millions," "six millions," other 
fantastic sums. Gad, how people throw 
dollars around in print! 

I know we don't get anything we 
don't work for. And why should we? 
I don't want to sound like a prig with 
a Mission In Life. But I don't believe 
we're put here just to eat and sleep — 
especially not at someone else's expense. 
I think it's okay to be born poor. I think 
it's a break for a guy. Because kids 
who are born poor have an insatiable 
desire to get ahead. Which I had, 
anyway. That was my best "advantage!" 

The times when I didn't have anything 
tangible to work for were the ones 
when I've been miserable. Guess that's 
why I've gone in for so many things — 
to make sure I always had a goal. When 
I'm shooting it's my ambition to be the 
best shot in the world. When I played 
polo I wanted to be the highest chukker 
man in the game. When I race a boat, 
I'm out to break a record. It's the same 
way with pictures. I have an end in 
view. I don't expect to get there over- 
night. I don't especially want to get 
there overnight. I'm one of those who 
thinks the fight is more fun than the vic- 
tory. Well, I just want to make it very 
clear that I'm in here, fighting. . . . 

Two years in the movies have taught 

me more than seventeen years in col- 
lege could have. What have I learned? 
Well, some poise, for one thing; some 
tact, I hope; unself-consciousness and 
the release of inhibitions. In pictures, you 
know, you are called upon to meet any- 
one from a visiting president to a 
journeyman plumber. And, as represen- 
tatives of our studios and of the industry, 
it doggone well behooves us to meet each 
and everyone properly and adequately. 

I've learned self-control, I think. The 
people who pay to get in especially 
admire a guy like Gene Autry. Because 
he doesn't smoke or drink. Because he 
stands for what is clean, decent and 
all-American. They feel that their 
daughters would be safe with him and 
that their sons would do well to copy 
him. He doesn't break faith with the 
people who love him for these qualities. 
That's for me! 

So, I've quit smoking. I wouldn't get 
tight for anything in the world. I 
wouldn't, I hope, make a fool of myself in 
public, ever, in any way. It would be 
hurting the business as well as hurting 
yourself. So, it's pretty "character- 
building," being in pictures, you see. 

DO I think it's easy to crack Hollywood, 
easy to get into the movies? Yes, I 
think it's very easy to get in. But you 
can't pat yourself on the back for it. 
I think anybody can get in. Then comes 
the test: Whether you've got enough; 
whether the public likes you well enough 
to keep you in. 

It's not easy to stay in unless you are 
100 per cent in earnest and on the level. 
Why? Because the old Barnum theory is 
wrong these days; there is not "a sucker 
born every minute." The public has a new 
awareness of good work. No more of 

Family grin, portrayed in a mother-son pose by Bob and Mrs. 
Stack with whom he lives in the family homestead in the old 
part of Los Angeles, a house that's "not a showcase, just home" 


this "I'm a star on account of I have 
dimples." No more "personality" boys 
and girls. Not unless it's personality 
plus; the "plus" standing for hard work, 
stiff competition and plenty of both. 

Did I ever "go Hollywood?" Yes, the 
first couple of months I was in the movies 
— after I'd "Kissed Deanna" and all that— 
I sort of looked in mirrors. I went for 
those autograph hunters. It changed 
me a lot, at first, the blare of trumpets, 
my name in lights. Then I took a look 
around at these drive-ins and gas sta- 
tions, saw fellows better looking and 
brighter than I could ever hope to be. 
I stopped looking in mirrors. 

I've always loved people. That's some- 
thing I didn't have to learn. Not the thing 
of wearing - your - heart - on - your - sleeve 
kind of spilling over. I mean, I just like 
human beings, alone and in crowds. But 
being in pictures has taught me to like 
them all the better. I've learned that a 
man's prestige, the size of his pay en- 
velope, don't determine what kind of 
guy he is. You learn this in pictures 
faster and sharper than in any other 

There are such terrific contrasts to be 
found within the area of a sound stage; 
the Great Big Movie Star and, at his 
elbow, the Little Extra. Well, you can't 
get a healthy inferiority complex any 
faster than by hobnobbing with some of 
the extras. Brother, can they talk, look 
and act circles around a lot of us! 

My stand-in, Berch Hughes, is my 
best friend. Berch is an Intellectual. 
I go out of my way to find words he 
won't know, but I haven't stumped him 
yet. He comes home with me every 
night. We talk for hours. Sometimes 
we go to the movies. Couple of years 
from now Berch may well be so much 
bigger in this industry than I am that it 
won't be funny. He wants to produce, 
not act. I have an idea he'll get what 
he wants. So, that's another lesson the 
movies teach you, and fast: You can't 
judge a man by the job he holds or the 
pay he gets — today. 

CEARS? No, I haven't any. No credit 
' to me. They were left out of me at 
birth. I love a thrill, the element of 
danger in games, sports, work. When I 
was playing polo I never thought of the 
horse's falling with me. When he did 
(I broke my wrist four times), time 
enough to think about it then. We die 
only once — why die a dozen times in 

A lot of people have asked about my 
spill during the boat race at Lake Yo 
semite. I was being officially clocked for 
the world record in competition and was 
doing seventy-seven miles an hour when 
the boat turned over and threw me clear. 
It was funny — I saw three of every 
thing. Next thing I knew, they had 
something hard and metallic in front of 
my mouth. I said, "What's that?" They 
said, "A mike." I said, "What for''] 
They said, "Just tell 'em you're alive." 
I said, "I'm alive." And passed out. Just 
as well I did, tell 'em I was alive, I mean. 
It was a relief to my mother. . . . 

Yes. Mother and I live alone in the 
family homestead down in the old p;.rt 
of Los Angeles. Now and then we do 
a bit of remodeling, bring the place up 
to date, but it's still not a showcase, it's 
just home. We like it that way. 

Do I have any pictures of girls in my 
room at home? Sure, one. A groat 
big picture of Deanna. Why not? Sho s 
my friend. She was wonderful to me. 
wonderful to work with. A real friend. 
Dates? Well, (Co?iti?uted on page 68) 

photoplay combined urith movie mirror 

daughter of one of Chicago's old families 

SPORTS LOVERS— "Gini" and her fiance, Donald 
A. Wildauer. Whenever Don can get a few hours off 
from his defense job, they go skiing. Gini says: 
"After I've been out skiing or skating, 1 slather on 
Pond's Cold Cream, and my face looks nice and 
soft again." It's no accident so many lovely engaged 
girls use Pond's! 


Shes Lovely ! 
She uses Ponds ! 

See what "GinVs" SOFT-SMOOTH 
Glamour Care ivill do for your skin 

1. She SLATHERS Pond's satin-soft Cold Cream 
thick on her face and throat. 

She says, "Then I pat like anything with quick 
little pats — up from my chin, over nose, cheeks, 
forehead, till my face feels all fresh and glowy. 
This helps soften and take off dirt and stale 
make-up. Then I tissue the cream off." 

2. She "RINSES" with lots more Pond's Cold 
Cream. Tissues it off again. 

"It's simply grand," she says, "the way my 
face feels — so baby-soft and so clean, every 
last little smitch of dirt wipes right off." 

Do this yourself! You'll love how your skin 
feels — so sweet and clean! Use Pond's Cold 
Cream "Gini's" way every night — for daytime 
clean-ups, too. You'll know then why so many 
more women and girls use Pond's than any 
other face cream at any price. Buy a jar at any 
beauty counter. Five popular-priced sizes — the 
most economical, the lovely big jars. 

GINI'S RING is as lovely as her 
almond-blossom complexion. It 
is a brilliant-cut diamond with 3 
smaller diamonds each 
side, exquisitely set 
in platinum. 



1. Pond's SOFT-SMOOTH 
Glamour Cold Cream 

2. Vanishing Cream 

3. New Dry Skin Cream 

4. New Dreamflower Face 
Powder (6 shades) 

5. Pond's "Lips" (5 shades) 

POND'S, Dept. 8MM-CC, 
Clinton, Conn. 

Send tne samples of 5 Pond's 
Beauty Aids listed at left used by 
lovely engaged girls and society 
beauties like Mra.Ge?aldine Sprockets 
and Mra. Ernest du Pont, Jr. En- 
closed is 10e to cover your distribu- 
tion expenses, including postage and 


(Offer irood in U. A. ualr) 


(Continued from page 66) not too many 
... I go out some, of course . . . but 
quite often I read in the columns that I 
have been out with a girl I've never even 
had the pleasure of meeting. 

I N love? No — not yet. 

It's a funny thing about this falling in 
love and getting married. No point in 
saying I will or I won't. It's something 
that just happens, isn't it? It's a cinch 
you can't be prophetic about it. I'll say 
this: I'd rather not get married for 
quite some time to come. Rather con- 
centrate on my work. 

Don't think I know what type of girl 
I like best. Don't know enough about 
girls to have a standard of comparison. 

Of course, there are a few things I like 
and don't like about girls. I do like a 
girl with a sense of humor. That's 

I like a girl who makes you feel she 
likes you, not one who makes six other 
men feel the same way. I don't like girls 
who table-hop when you're at a night 

(Continued from page 27) whole outlook 
on life. She was free and even uncon- 
scious of the "career troubles" that can 
become a Hollywood girl's whole exist- 

She talked to Mickey about the same 
things she had talked about to her boy 
friends back in her home town of Wilson, 
North Carolina. She wasn't impressed 
with Mickey as a great movie idol. He 
wasn't her idol anyhow. She had one, 
like every other girl in the world, but 
Mickey wasn't it. Clark Gable was. 

"Whom would you like to meet most of 
all?" they'd asked her at M-G-M that 
first day and Ava had answered, eyes 
shining, "Clark Gable." 

About her was an aura of good breed- 
ing, gentle manners, quiet ways. There 
were no flippant smart cracks dotting her 
conversations. Her soft Dixie accent 
revealed the voice of a gentlewoman. 

I don't like girls who make "scenes." 
When anything like that happens to me, 
or around me, I get up, walk out of 
wherever I am, go up to Tahoe or 

I don't like girls who hand me com- 
pliments. They are embarrassing. You 
duck them. Only compliment worth 
while is if a director says something that 
indicates he's pleased with you. 

But speaking of girls, seems girls in the 
movies have less vanity, less chi-chi 
about them than any other girls. They 
know you know how they look, that 
you've seen them with and without 
make-up, after work, when they're tired, 
disheveled, all sorts of ways. 

I gave a swimming party at the house 
recently. Just had a new pool put in; 
saved up for that. Lana Turner was 
there, Ann Rutherford, Lee Bowman, 
Jackie Cooper, Bonita Granville, Arleen 
Whelan, Pat Morison, a lot of others. 
Their fans should see them at times like 
that — the way they kid around, push each 
other in the pool, clothes and all, the girls 
with their hair all stringy, no make-up 

Mickey Rooney Picks a Wife 

She lived in a small, inexpensive apart- 
ment with her older sister Beatrice who 
had come on to Hollywood with Ava 
when M-G-M signed her. Beatrice got a 
job in the bag department of a local 
department store, while Ava each morn- 
ing caught the bus to the studio, where 
she studied singing and diction to curb 
the Southern accent. 

Ava took no part in the Ciro or Mo- 
cambo goings-on. With Mickey as her 
ardent escort she could have gone any- 
where, any time, and been news. But 
she stayed quietly in the background. 
She and Mickey bowled together, at- 
tended football games, went riding and 
played tennis like any two other kids in 
this world. 

"Look, Les," Mickey would say during 
that early courtship, "Ava thinks the 
Pomona Fair is worth seeing. What 
about our going down there?" 

Bless-you-my-son scene on the set of "The Courtship Of 
Andy Hardy": "Judge" Lewis Stone congratulates Mickey 
Rooney on his engagement to hazel-eyed Ava Gardner 


on. Kids in the movies are less self-cor.- 
scious and natural in their off moments 
than any kids I've ever known. 

And speaking of fear again — it's the 
same with movies as with sports. I'm 
not afraid of anything tangible. I knew 
I need plenty of experience. I know I 
need pictures, and more pictures. I'll 
probably get some bad ones along with 
the good. I'll probably make lots of 
mistakes. That's part of being your.g. 
isn't it? But I'm working hard, keepLvs 
my eye on the tape. I'm not getting 
caught short with a lot of dates and en- 
tanglements when I'm making the most 
important picture of my career — because 
that's what "Eagle Squadron" will be 
when I get back to the Universal lot. 

What I mean is — the only thing I've got 
to fear is myself. That I play the game 
according to the rules, that I don't fail 
in any way. As in polo, it isn't the 
horse's falling I worry about; it's that 
I don't fall off the horse. 

I know the only thing that can hurt 
me in pictures is — me. 

The End 

So the Petersons, with Mickey and 
Ava, would go to the Fair, take in the 
exhibits, look at the marvelous home 
products, spend the day and come home. 

Ava isn't the kind of girl to be con- 
cerned about her appearance. Her hair 
blows in the wind, as Mickey drives with 
the car top down, and there is no fuss 
made about it. Her clothes are the 
plain inconspicuous clothes of any well 
dressed working girl of nineteen. She 
isn't, despite her beauty, a knock-'em- 
dead blonde headlight, a sweater-girl 
cutie. Poise and dignity are among her 
possessions. She has opinions worth 
listening to and expresses them as she 
would to Fred or Harry back home 
Without realizing it, she has rearranged 
the thinking avenues in Mickey's head. 

ON his way east to the Michigan 
Northwestern football game, a trip 
made in the cause of war relief, Mickey 
sat opposite his friend Les on the train 
and talked quietly about Ava; the kind 
of girl she was, the things she said, 
her ideas and opinions. Les, who knew 
Mickey was really just thinking out 
loud, listened. At the Cheyenne station. 
Mickey bought a tiny Indian doll and 
sent it to Ava. 

At the game he went the rounds, giving 
the public who adored him the wide 
Rooney grin in greeting. But Les knew 
that even in the midst of this Mickey's 
mind and heart were slowly slipping into 
harmony. He was thinking things out 
in a man's way. 

For some reason, the public looks 
Mickey as a pretty brassy, sassy ki 
His screen roles may have contributed 
to the idea, plus a few adolescent view 
points Mickey has long since outgrown 
For a boy who from babyhood grew up 
in the easy-come world of show business 
Mickey possesses as fine an average ol 
good behavior as any adult star in the 
business. He's kept his head and his 
name worthy of number-one rating. He's 
dated the nicest girls in town, among 
them Linda Darnell and Gloria Lleyi 
Harold Lloyd's young daughter, anc 
proved himself the gentleman he is. 
He's never fought for right- or left-h..:io 
position of his name over a picture title 
but, instead, quietly insisted his name 
go under the name of Lewis Stone's ir 
the Hardy serials. He's a sportsman ol 
note, has teamed with champions ii 
the tennis (Continued on page 70 

photoplay combined with movie mifr 



COUSIN* Why Laura — home again on Saturday 
night? DonH tell me you've quarreled with Don! 
LAURA I We haven't quarreled exactly — but he's 
taking that new blonde at the office out. again 
tonight. I guess I'm all washed up! 

COUSIN' Well — if you don't mind a little sis- 
terly frankness — you've been looking sort of 
tired and draggy lately. Why don't you start 
building up some sparkle and "go" — and see 
what Don does then! 

LAURA' Build up sparkle and "'go"? How can I? 
COUSIN! Haven't you read about those new 
miracle food elements, like minerals and vita- 
mins, that make so many people fresher and 
more "alive"? Better see you get more of them ! 

SO— LAURA Started Taking OVALTIISE Regu- 
larly 3 Times a Day — To Get Extra Supplies of 
Important Food Elements Needed For Vitality 
and Freshness — And Always a Cup at Bedtime 
to Foster Restful Sleep. 

DON I (Some Time Later) Gee, Laura — you look 
ivonderfull I — well — how about a date tonight? 
LAURA I I've been out every night this week — 
but I feel so peppy — I guess I can stand an- 
other date. 

COUSIN: (Still Later) There's the music — and 
Laura, you're a very beautiful bride and Don's 
a lucky fellow! 

LAURA; Thank you, darling — and thanks a mil- 
lion for telling me how to be attractive againl 

l/naffracfive, "Lifeless," 
Rundown or Under Par? 


If fatigue, jangled nerves, or lack of sparkle 
are robbingyou of social success, you should 
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rtARCH, 1942 

retard fatigue — give vitality and sparkle to 
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"N a me 


City State 



(Continued from page 68) tournaments 
on the West Coast. He shoots golf in 
the 70's, spends many an evening work- 
ing on symphonies. He's kept close 
to his Mom and two Dads, his own and 
his stepdad. His Mom is still his busi- 
ness manager and it is she who doles 
out his allowance. His Mom is as pleased 
with Ava as every member of the great 
Metro-Goldwyn-Mayer studio, from Mr. 
Louis B. Mayer down. 

"He's made a swell choice," is the 
universal opinion of a studio that only a 
short time ago vigorously opposed the 
marriage of two of its younger stars. 
"Has that kid used his head!" is the way 
one hard-berled publicist put it. "Why, 
that's one real genuine girl!" 

AVA GARDNER is the average small- 
*» town American girl, born in Smith- 
field, North Carolina, on the cruel, cruel 
date of December 24. "Which means ah 
nevah did get a birthday present," she 
says. "Everybody just waited until 
Christmas." (Right here, let us say, 
with Mickey trying to decide on the 
stone, Ava will have gotten some birth- 
day present by now.) The family moved 
to Newport News, Virginia, where Ava 
completed her grammar school and then 
to Wilson, North Carolina, with its Rock- 
ridge High. 

After graduating from high school, Ava 
attended Atlanta Christian College for a 

(Continued from page 32) roadster. The 
top was up and the girl at the wheel was 
almost lost in shadow. But he recognized 
her, leaned forward. "That's the one — 
follow it. But don't stay too close." 

She never heard, Bill decided, about 
speed laws. The cabby swore, trying to 
keep up with her in the heavy traffic 
along Sunset Boulevard. 

They were leaving the crowd and hustle 
behind them now. Beverly Hills, the 
driver said. The houses were large and 
rambling, set back from the road. The 
white car was several hundred yards in 
front of them. It veered suddenly around 
a corner. By the time the taxi reached 
the spot, Bill caught a glimpse of the 
roadster entering a driveway at the far 
end of the shaded street. 

"All right — stop here." He got out, paid 
his fare. "You can wait if you want." 

It was a low bungalow, with an arti- 
ficially thatched roof. You knew a wo- 
man lived there. The blue shutters, the 
window boxes, the profusion of flowers 
on the lawn. 

He crossed the street, walked up the 
gravel path, rang the bell. 

The colored maid opened the door half- 
way. "Yessir — what you want?" 

Not so friendly as he would have liked. 
"Would you mind telling Miss Winslow 
that Mr. Corey is here — Mr. William 
Corey? She'll recall the name — I came 
all the way from New York to see her." 

She appeared not to understand. 
"Would the gentleman mind explaining 
me what this is about?" 

Bill gestured easily with his hand. "Oh, 
she knows about it — we've written sev- 
eral letters. It's a very important matter 
about some publicity." 

He hoped the word publicity would 
arouse interest, but the effect was neg- 
ligible. "Miss Winslow, she don't handle 
them affairs. You got to go down to the 
studios. Miss Winslow she's tired. Worked 
all morning at the studio. Has to be to 
a luncheon at the Brown Derby. She 
ain't got no time." 

She regarded him a moment with ag- 


year and then decided to get a job. A 
friend suggested she go to New York 
and have photographs made that might 
perhaps lead to a modeling job. The 
New York photographer was so enthu- 
siastic over Ava's Southern beauty, he 
sent the pictures over to M-G-M's office. 
When they telephoned Ava, she was 
sure it was a joke, but, finally convinced, 
she went for the interview, signed a con- 
tract and, with her sister, left for the 
Coast. The following day she met 
Mickey Rooney. Mickey was her one 
beau from that moment on. She was 
guest of honor, with Mickey's mother on 
the other side, at Mickey's twenty-first 
birthday party. 

"After a few months, we just kind of 
knew we'd be married," she told us. "I 
think people know those things without 
any sudden decision." The night she 
and Mickey decided it might as well be 
soon, Ava telephoned her mother. That 
telephone call, due to the sudden ex- 
plosion of war, was delayed and when 
it finally came through at 4:30 A. M. 
Monday morning, a sleepy Ava asked 
her mother's consent. Her mother, Mrs. 
Jonas B. Gardner, announced the engage- 
ment in Wilson. That day Mickey 
sent Ava a dozen American beauty roses. 

The following day, Mickey hung 
about the door of the sound stage wait- 
ing. When Ava appeared, he took her 
hand and led her to the man who had 

You've Got to Believe Me! 

gressive displeasure — then slammed the 

The reverberation was like a shot. 
Anger went through him. There had 
to be some way he could get a hearing. 

He glanced about him quickly. Over 
on the left was the driveway, beyond 
that a rose arbor and swimming pool. 
On the right of the house a tennis court. 

He sauntered over to the driveway. 
The white car was parked just outside the 
garage. On either side of the garage were 
magnolia trees, low-hanging. 

She had a luncheon at the Brown 
Derby. Which meant that she would 
come out to the car. If he could be near 
that car when she came out — ! 

HE started along the driveway. The 
magnolias would shield him from 
view. He could always say he'd gone out 
the wrong way, become confused. He 
was near the car when he heard someone 
moving close by. He ducked to one side, 
seeking the shelter of the trees, and failed 
to notice a low wire fence beside the 
garage. He tripped, pitched forward, 
sprawled in a bed of tulips. 

He was picking himself out of the 
flowers when he saw it — the jagged, 
menacing shadow of a man. A man who 
stood directly behind him. Bill got to 
his feet, turned around. 

The man was tall and sandy-haired. 
The shoulders under the brown coat were 
wide and the lean face held a hint of a 
sardonic smile. 

"Better start talking, mister." He 
spoke in a quiet, flat voice. "What is it — 
a one-man tulip festival?" 

"You're the watchman?" The man 
nodded without speaking. Bill said, 
"Trying to find my way out. Afraid I 
got confused. Didn't realize — " 

"Cut the funny gags." He took a step 
forward. "Sorry, brother. It looks like 
I have to turn you in." 

"All right," Bill said, "I was waiting 
here. I've got to see her. It's business, 
you understand. They wouldn't let me in 
at the studio — the maid slammed the 
door. I knew Miss Winslow had to come 

become a third father to Mickey, a man 
whom he loves. 

"Mr. Stone, I want you to meet my 
bride-to-be," Mickey said and, some- 
how, it was all mixed up. Andy Hardy i 
was speaking to his screen dad, pride : 
in his heart and eyes, begging for 

Lewis Stone took both their hands and 
shook them in blessing. To Ma Hardy 
and each member of the cast, Mickey ' 
introduced his betrothed. They loved 
her on sight. 

"And the Hardy series will go right 
on," the studio assured us. "Mickey's 
marriage will in no way affect his role of 
And y." 

Where they will live, what Ava's plans 
are for the future, whether she'll con- 
tinue on the screen or not, the kids 
themselves aren't sure. So far Ava has 
appeared briefly in "We Were Dancing" 
and "This Time For Keeps." But on one 
thing we'd bet our last dime — Mickey 
"Andy Hardy" Rooney, the pride and 
joy of American fans, will be married 
to the girl he loves in quiet dignity, with 
his family and the Hardys and the 
Gardners present. That's our guess, for, 
you see, we've known the real Mickey 
for years, we've watched him grow, we've 
seen him finally achieve the manhood 
that is worthy of his Ava. 

Bless them both, say we. 
The End 

out to the car and I was waiting— 

"That's a honey of a story." 

Reaching out to take hold of him, Bill 
stepped back. "You've got to believe 
me. It's the truth." 

The man scratched the top of his head. 
"I almost think you're telling it straight 
You look honest enough. I'd like to gi 
you a break. Tell you what — I'll forgi 
it — provided you get out of here fast. 

Bill felt a rush of relief. "I can't tell 
you how much — " 

The man took his arm, led him arouni 
toward a back gate behind the garage. 
"What are you trying to do — sell her 

"Oh — it's an advertising stunt. If I 
could figure out some way to get to 
her — " 

The man's hand tightened on his arm. 
"I'm giving you a break, bud. Also some 
advice. As far as she's concerned — for- 
get it. I'm responsible for her safety 
and if I see you here again I'll pull you 
in quicker than that." 

He snapped his fingers. It was th 
Bill noticed that the man's right hand 
had only four fingers. 

The little finger was missing. 

THE path behind the garage led even- 
tually back to the street. The tan 
was still waiting. Bill got inside. The 
cabby asked, "Where to now?" 

She was going to lunch at the Brown 
Derby. Bill didn't know how many 
would be at her luncheon. But there 
was a good possibility he could get tc 
talk with her. The difficulty was she 
hadn't started yet. 

"The Brown Derby," he said. "Bu 
drive slow. This is my first day in Holly- 
wood, you know. I like to look around.' 

The cabby considered that an invita 
tion for a sight-seeing trip. He was tak 
ing side roads and bypaths and pointing 
out each house and street and studio 
Bill wasn't paying attention. He was 
engaged in plotting the proper way tc 
approach a screen star in a restaurant 

By the time they pulled up in fron 
of the Brown Derby, he had it pretrj 

photoplay combined with movie mtrrof 

thoroughly worked out in his mind. 

She was already there. 

Bill saw her, as he followed the head- 
waiter, weaving through the hubbub and 
the crowded tables. She glanced up and 
Bill thought he saw something that 
seemed close to fear in the blue eyes and 
then she turned back to the two men who 
were with her. 

Bill motioned to the headwaiter. "That 
one near the wall." Pointing to a table 
across from Caryl and the two men. 

As he gave his order to the waiter, he 
studied her, over the menu. The hair, 
long and golden, drawn back artfully, 
accentuating the oval lines of the face. 
The full, crimson lips. 

She was playing a role. The sophisti- 
cated, worldy-wise young lady. Brim- 
ming with gaiety. Each expression tailor- 
made. And yet it puzzled him, because 
that first glance had been afraid. 

Inexplicably, he thought of that bit 
of paper on the steps of Cosmic Studios. 

He recognized the men. The short, 
pudgy one was Larry Pierce, the di- 
rector. It was said he was slipping, that 
he'd be finished in Hollywood if the pic- 
ture he was making missed fire. 

The other, wearing the dark goggles, 
was Roland Summers. He was Caryl's 
leading man and it was rumored — in 
spite of studio denials — that there was 
a romance between them. Now that he 
saw her, Bill understood how any man, 
working with her constantly, would be 
almost bound to fall in love with her. 
And Summers was supposed to be the 
great lover. Bill thought the tweedy 
sport coat and the long cigarette holder 
were utterly ridiculous. 

THEY had reached their coffee when 
' Bill pushed back his chair. He felt a 
trifle nervous. He stood there for just 
a moment. Then he started forward. 

The three looked up as he approached 
the table. The blue eyes met his and 
found them disturbing. 

"Is there something you wish?" Sum- 
mers' voice was deep and unpleasantly 

Bill made his smile boyish. "Miss 
Winslow, I'm sorry to be barging in like 
this. But I'm one of your fans — if it 
wouldn't be too much bother, I'd give 
an eyetooth for an autograph." 

He knew she wouldn't refuse. Even 
stars like Caryl had to cater somewhat 
to their public. 

"But of course. You have your auto- 
graph book — ?" 

Bill snapped his fingers. "How stupid! 
I got so interested when I saw you sit- 
ting there. Just a minute." He turned, 
beckoned to the headwaiter. "Do you 
think you could get me a piece of white 

The headwaiter looked surprised. But 
he glanced at Caryl, who nodded, and 
he bowed. "In just one moment, sir." 

Bill stood by the table waiting. Pierce 
and Summers did not even try to hide 
their impatience at the intrusion. 

"You've no idea," Bill said, "how hard 
I've worked, trying to see you. It wasn't 
just for your autograph — " 

He was aware of a change in their 
manner. There were pink spots on her 
cheeks. Pierce stood up. "Just what is 

Bill paid no attention. He was looking 
at Caryl. "Miss Winslow, I flew all the 
way from New York — to see you. I 
know you don't know it, but right this 
minute my whole career depends on 

Curiosity was woman's weakness and 
Caryl was no exception. "I don't un- 
derstand. Why should your career de- 
pend on me?" 

"That's what I want to talk with you 

MARCH, 1942 

MrfSto/lhW ITI ! 

Here, Dear Reader, we give you an intimate close-up of 
The Outraged Husband ... A rip-roaring, fire-breathing Male . . . sans shirt, 
sans temper — sans just about everything except a swell case of 
Righteous Indignation. 

And what is the Ultimatum he delivers? Something like this, 
perhaps: 'This does it! I'm through looking like a ghost in a gray 
shroud. If I can't have a white shirt, I'll go where the only shirt a man 
has to wear is the one he gets with his birthday suit. Goodbye!' 
{with appropriate gestures) 

And how does his Lady respond? Elementary, Mrs. Watson. 
She tiptoes to the telephone and in quavering tones tells her 
grocer, 'Please send me some of that Fels-Naptha Soap right 
away. Send a lot. And hurry!' 

[Aside to the Ladies] This isn't all g^IZZZZ^* ^i 

kidding. Better take a peek at Papa 's [PI ft 11 m b _ 

shirts. Hi may not be as tame as I LlO'^JAr iHA 

you think. You never know. CflAn 


Go/c/en 6aror 
Go/aen cfifis 

1 1 L J IMAi I HA 6am's/ies"7atf/e7a/e Gray 9 




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Pronounce Modess to rhyme with "Oh Yes" 

about," Bill said. "That's why I came 
to Hollywood." 

Her smile was quizzical. "I'd hate to 
have that on • my conscience," she told 
him, "without at least knowing how and 

"Then you will see me? I can't tell 
you about it here, but any time — any 
place you say. It'll only take a few 
minutes — " 

Pierce turned to Caryl. "You can't 
see him — it's preposterous!" 

SUMMERS stood up. His hand was 
on Bill's arm, edging him from the 
table. "If you've any business concern- 
ing Miss Winslow, perhaps you wouldn't 
mind taking it up with the regular offices 
at the studio?" 

"Wait one moment, Roland. If he's 
come all the way out here — gone to all 
this trouble — it must be something pretty 
important to him." 

Pierce asked, "Do you know him, 
Caryl? Is there any reason you should 
assume any responsibility — " 

"Of course not. Don't be silly." She 
seemed more calm than she had been 
a moment before. "Naturally, I'd like 
to help if I — " 

"You can't afford to run risks, Caryl," 
Pierce told her. "If anything should hap- 
pen to you, it would be ghastly. You've 
got to think not only of yourself, but also 
of the studio, the picture you're mak- 
ing — " He turned to Bill. "I'll have to 
ask you to leave, young man." 

"Just run along," Summers said. "You 
don't want any trouble." 

Panic and anger. The sensation he 
used to have when an opponent's blow 
landed too flush. The need to answer 
quickly. "I've got to talk with her. 
You must listen, Miss Winslow." 

He got no further. Pierce and Summers 
had him by the arms. Pushing him, 
half carrying him, toward the door. He 
saw the headwaiter returning, heard 
Pierce's terse, "Crashing in where he 
doesn't belong." 

He twisted. Out of the corner of his 
eye he saw Caryl, standing, back of her 
hand at her lips. 

He was breaking from them as they 
neared the door. Pierce, whose hands 
were strong, gave him a shove. It car- 
ried him halfway to the street. He 
grabbed the side of the wall to keep 
from falling. 

But she had wanted to hear him and 
he'd caught a few words of their con- 
versation at lunch, when she had told 
Pierce she was tired, was returning to 
her home directly from the Derby. 

He started walking along the boule- 

vard, in the direction of the Roosevelt, 
where he had registered that morning. 
Several blocks down, he passed a tele- 
graph office. A freckled-faced messenger 
boy was on one of the benches. 

Bill stopped. A messenger. He could 
get a message to her personally. Bill 
didn't pause to weigh pros and cons. 
It was the only chance left. 

The white-haired lady inside was 
pleasant. Yes, she could have the boy 
deliver the message at once. Would 
he write it at the desk. 

He spent some minutes figuring out 
exactly how to say it. But he surveyed 
the final result with pride: 

Dear Miss Winslow: 

My hurried exit at lunch was none 
of my doing or desire. It cost me the 
chance to obtain your autograph and to 
discuss with you the matter which 
brought me here from New York. 

Won't you help me recover on these 
losses? All I ask is ten minutes — and 
it's a business matter that will be of 
value to you and won't cost either time 
or money and my job depends on it. 

Then I could get the autograph, too. 

Hopefully — I might say prayerfully — 
Bill Corey 

|_| E sealed it in an envelope. The little 
I" boy with the freckles took it. Bill 
gave him an extra fifty cents to get there 
fast and back faster with the answer. 

Waiting seemed endless. He paced up 
and down the sidewalk outside. He went 
back into the telegraph office. The 
woman behind the counter tried to make 
conversation but he didn't feel like talk- 

More than an hour passed. Bill told 
himself nothing was wrong — the trip 
would take that much time. But the 
fingers of the clock crept on and it was 
close to two hours and even the woman 
seemed surprised the boy wasn't back. 
"Maybe she kept him waiting. You 
know what those actresses are like."' 

But they weren't prepared for what 
happened. Not even when they heard 
the sound of sirens in the distance, 
growing louder. Not even when the 
three police cars pulled up with screech- 
ing brakes in front of the door and what 
looked like an army of blue uniforms 
trooped in, followed by the freckled-face 
boy, so scared he could hardly speak. 

"They — them cops — they want him.'' 
Pointing to Bill. 

The lean-faced Sergeant stepped for- 
ward. "So you're the lousy heel." 

Bill stared, dumb with astonishment, 
unable to find words. 

"What's your name?" 

She has two Oscars, now she gets a Golden Apple. Bette Davis, 
"for being the most co-operative actress in Hollywood," gets 
the Golden Apple award from Ruth Waterbury, President of Holly- 
wood Women's Press Club, author of "Close Ups and Long Shots" 


photoplay combined with movie mirror 

"Corey," he managed. "But what in 
thunder — " 

"Yeah, Mr. Corey. You just sent a 
little billet-doux to Miss Winslow, didn't 
you?" With what he seemed to think 
was exquisite sarcasm. 

A stocky patrolman took hold of Bill's 
arm. "We're going down to the station." 

"Now wait a minute!' Bill cried out. 
"I haven't committed any crime. I sent a 
note. I've been waiting for an answer. If 
I intended anything wrong, would I wait 
here, where you could find me?" 

"Don't blame me because you're 

"It's — it must be mistaken identity." 

"Mistake is right," the Sergeant grated. 
"Come on — get moving." 

Someone cuffed him. He was boiling 
over inside. They wouldn't even let him 
talk. But once he got to some higher 
officers, he'd be able to get the truth 
out. It was so perfectly simple. 

THE Sergeant and the fat cop sat on 
either side of him in the police car. 
There were two other cops on the front 
seat. Nobody spoke as the engine started 
and the sirens screamed and the car 
roared up the center of the boulevard. 

Bill asked the Sergeant, "What do they 
think I've done?" 

The Sergeant slapped him. "Shut up!" 

At the station house, they shoved him 
into the main room. One of the officers 
searched him and took out his wallet and 
some change he had in a trouser pocket. 
These were placed on the desk — behind 
which sat the three-hundred-pound, 
walruslike Captain, who leaned back in 
a swivel chair and studied him over rim- 
less glasses. 

Bill glanced around the room. Pierce 
and Summers were there. And Caryl 

It was a changed Caryl. The make- 
believe gaiety had vanished. The eyes 
which were supposed to be so mysterious 
and enigmatic were bewildered and 
scared. She held the dark fur coat tight- 
ly about her yellow frock. She wasn't 
the sophisticate any more. Only a girl 
who looked as if she were in trouble. 

For some reason, he found himself 
being sorrier for her than he was for 

She came toward him, so close he 
caught the scent of her perfume. She 
looked up at him. 

"It's difficult to believe." So softly, 
the others could hardly hear. "Why 
should a young man like you want to — 
to kidnap me?" 

"Kidnap!" He repeated the word ex- 
plosively. "Is that the charge? Is that 
what they think — " 

His shock was manifest. She asked, 
"You actually didn't have any idea?" 

"How could I? It's their notion, not 
mine. Theirs — and yours. I had no 
thought of any insane thing like that. 
You've got to believe me!" 

"You mean — you didn't intend to 
threaten me? You didn't plan — " 

"Threaten!" He tried to make his voice 
very patient. "Miss Winslow, I've only 
known you a few hours. I think you're 
charming. I wouldn't hurt you for all 
the gold in Fort Knox. As for kidnap- 
ping — the only crime I ever committed 
was to get arrested for speeding to a 
football game." 

Pierce came over, put his arm around 
her waist. "You mustn't let yourself 
become emotional about this, Caryl." 

"Larry," she said, "I think he's tell- 
ing the truth. He doesn't seem like a 
criminal type at all. Really he doesn't." 

"When you get through talking about 
me like a stuffed pigeon," Bill said, 
"maybe you'll let me explain — " 

"I didn't mean it that way," she told 

mabch, 1942 

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him. "They think you wanted to kidnap 
me. I'd like to hear what you have to 
say." She turned to the Captain. "I 
won't prefer charges, until he's had a 
chance to explain." 

Summers came to her side. "You can't 
let a man like that go scot-free. He's 
a menace — a kidnapper — he's been send- 
ing her threats." 

The Captain leaned forward. "You 
mean demands for ransom?" 

"Exactly." The actor's voice grew more 
Shakespearean. He was about the same 
height and build as Bill, but the goggles 
and the posture struck a melodramatic 
note. "She's had three notes before. 
Asking $50,000 — with some complicated 
arrangement for payment. Today this 
man accosted her at the Brown Derby. 
Mr. Pierce and myself put him out. 
She was upset by the episode and we 
took her home. When we arrived we 
found another note under the door 
Wanted $100,000 this time." 

"This was after the restaurant affair?'' 


"And where are those notes now?" 

"At her home. All typewritten — on 
plain white paper." 

The Captain ordered the Sergeant to 
send out to the house immediately for 
the notes. He turned to Caryl. "Why 
didn't you report them sooner?" 

"Because I thought they were just from 
some crank." She was almost defiant. "I 
still don't think it's serious." She glanced 
at Bill. "He doesn't look like a kid- 

"I'm not," Bill said. "I didn't send any 
threats — " 

THE Captain frowned. The Sergeant 
' mumbled something, glared at BUI. 

"This afternoon," Summers said, "when 
she found the note under the door, Caryl 
— Miss Winslow — became nervous. She 
told us then — for the first time — about 
the other notes. She wouldn't caU the 
police but I was about to and then that 
boy arrived with the note. Even though 
it looked all right, on the surface, I saw- 
it was just a trick to get to see her — " 

"You thought he might be part of the 

"I knew he was. I called you and 
you came out and went with the boy 
and arrested him, whatever his name is 

"Corey — William Corey," BUI said 
with mock politeness. 

The Captain said, "I'm going to hold 
you on suspicion, young man. You'll 
have a chance to give your statement 
later. We'll get the truth before we're 

She was still close to him. He put 
his hand on hers. "If they'd let me caU 
my office in New York — " 

Pierce puUed her away from him. 
"Caryl, you've had a dreadful experience. 
You need rest. I think we should take 
you home as quickly as possible. How 
about it, Captain?" 

"We can reach her by phone, U we 
need her. All right — you can go. But 
I'd like Mr. Summers to stay. He may 
be able to help." 

Pierce nodded, started toward the door, 
his arm through Caryl's. At the door 
he turned. "Follow us out, Roland, when 
you get finished here." 

Summers looked jittery as he stood 
in front of the desk. The Captain looked 
first at him, then at Bill, then back to 
Summers. "If this is some kind of pub- 
licity stunt — " 

"I saw the notes myself," Summers 
said. "She should have reported them 
days ago, of course. But — you know 
she has no idea about crime or criminals. 
Doesn't think about things like that." 

"It better not be phony." The Captain 

photoplay combined with movie mtmoh 

removed his glasses, rubbed them with 
his handkerchief. "This is a police de- 
partment, not a press bureau. You say 
the notes were slipped under the door 
of Miss Winslow's home?" 

"Yes. All of them." 

"How'd it happen the watchman or 
somebody didn't see any of them being 
placed there?" 

"She hasn't any watchman. Always 
said she was safe and didn't need body- 

It was seconds after he spoke before 
his meaning struck home to Bill. He 
said quickly, before he could stop to 
think, "But if she doesn't have a watch- 
man, who was — " 

He stopped. He couldn't tell them 
about his meeting outside her home. It 
would only make them more certain of 
his guilt. 

"What did you start to say?" The 
Captain asked. 

"I said I'd like to tell my side of the 

"You will — in due time. I've some 
important points to discuss first with 
Mr. Summers." 

The Captain and Summers talked in 
low voices. It lasted some time; Bill 
finally sat on the bench with the tall 
Sergeant standing over him and not say- 
ing a word. 

Bill couldn't hear the conversation 
clearly, but he gathered the actor was 
going into lengthy description of the 
house, the location of the door, all the 

I T was half an hour before they fin- 
' ished. The Captain returned to his 
desk and began studying a report that 
had just been handed to him. "Says here 
a Bill Corey landed on a transcontinental 
plane from New York this morning. 
Registered at the Hotel Roosevelt. The 
description tallies — " 

He couldn't finish. The door had swung 

Pierce was standing there, tie askew, 
hair mussed, eyes wild. A man in chauf- 
feur's uniform stood behind him. 

"Caryl!" Pierce's voice was hollow. 
"They've kidnapped her. Stopped the 
car — grabbed her. The chauffeur and I 
tried to stop them. They struck us 
down. Raced off with her." 

"It happened so fast," the chauffeur 
said, "we hardly had time to do any- 
thing. I got part of the license number 
of their car — the first two numbers. They 
were 8-Q." 

Caryl kidnapped! Bill was positive 
that man in the garden had something 
to do with it. But if he told them, they'd 
be certain he was lying. It would sound 
too pat. And yet he had the most im- 
portant clue — the sandy-haired man with 
the missing finger. 

He had to find the man. 

THE Captain was barking orders. Phon- 
' ing information for the radio dis- 
patcher to send to the cars. One of 
the cops grabbed Bill. "What'll I do 
with this — " 

"Listen," Bill said suddenly, "I'll talk. 
I'll tell you the whole rotten story." 

He was watching Summers. Summers 
with goggles and tweed coat. Just about 
Bill's height and weight, about the same 
color hair. The same coloring and gen- 
eral features. "But the only one I'll 
talk to is Summers." 

The officers looked at each other. The 
actor's face was pale. 

The Captain asked, "What about it, 
Mr. Summers?" 

A pause. Finally, "All right. But he 
better talk fast. If anything happens — 
happens to her — " 

The Captain took them to a small, win- 

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dowless room usually reserved for per- 
sons coming to make identifications of 
suspected crooks. Bill carefully closed 
the door. The actor was trying to act 
calm. "What is it?" 

Bill said, "It's this." 

It was one blow. It had to be one blow. 
Bill delivered it with everything he had. 
Every ounce of strength in his body. 

Summers' legs buckled. His eyes went 

He started to crash to the floor. Bill 
grabbed him, lowered him gently into a 

He worked fast, pulling off the coat, 
the shoes, the tie. Taking off the high- 
pleated trousers took the most time. He 
wondered how the man had the nerve 
to wear them. 

The police might be listening at the 

He began talking softly, as if he were 
giving Summers the story. He had on 
the tie, the coat, the dark goggles. 
Mussed his hair a little, like the actor's, 
for the finishing touch. 

He hurried out of the door. The police 
were standing near by, waiting in a group 

Bill walked past them briskly. He 
mumbled a few words — unintelligible 
sounds — trying to catch Summers' deep, 
artificial tone. Letting words stand out 
spasmodically — "Papers — car — back in 

"Make it quick, Summers," the Cap- 
tain called. "The sooner we get his full 
story, the sooner we'll have her back 

But Bill was hardly listening. He was 
running through the oaken doors of the 
station. Out into the early dusk. 

For the first few minutes, Bill has no 
idea of how to go about finding Caryl. 
Then the big idea hits him — and it seems 
so simple he wonders why he hasn't 
thought of it before. For the fast-paced, 
exciting story of how he discovers the 
gangsters' hide-out — and Caryl — see April 
Photoplay-Movie Mirror. 


A watch-him-go-places picture of 
John Emery, who, with Pat O'Brien 
and Brian Donlevy, rounds out a he- ' 
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photoplay co»!bi?ied with MOVIE mihfo^ 

(Continued from page 47) great slices of 
French bread for each of the guests. For 
he sweet, our hostess again went into the 
dtchen — this time to make pancakes — 
vhich she does very well — and again 
;erved. Nothing could have been more 
■asual — or more charming. It was a sup- 
>er that any hostess would be smart to 

When I suggest that a party be in- 
ormal I don't mean haphazard. Because 
here are rules for informality, too, and 

ilways the prime requisite of a good 
lostess, but nowhere is incompatibility 
o fatal as at a small party. The wise 

Kostess will beware of the temptation to 
ivite people to a party just because she 
owes them a dinner." Either your eight 
;uests are all friends who enjoy each 
ither's company, who are stimulating to 

ach other, or your evening is a failure. 

Basil and I both count as one of our 
Jeasantest evenings a small dinner party 
it which all of our guests — among whom 
vere Sir Hugh Walpole, James Hilton, 
Constance Collier and the Robert Ed- 
nund Joneses — were tremendously in- 
erested in literature and in the theater. 
\11 of them were vital personalities with 

:uch to say. We finished our dinner — 
ally — at five in the morning around 
he fireside with coffee. Even then we 
vere reluctant to break up the party — 
here was still so much more we wanted 
o talk about. 

Another hurdle for the informal party 
s that entrance chill. Introductions are 
nade and acknowledged, the weather is 
iisposed of and then dead silence until 

How to Be a Social Success 

somebody stumbles on a lively topic of 
conversation. Nothing will dispel that 
frostiness so quickly as giving your 
guests something to do. 

Have a big bowl of caviar, if that's on 
your list, or peanut butter and sardines 
with a platter of small toast squares and 
let them make their own hors d'oeuvres. 
They'll be so busy that before they know 
it they'll be at ease and ready for a 
pleasant evening. 

THERE are so many novel ways of serv- 
' ing an informal supper. A good idea 
is to have the food brought onto a buffet, 
where the hostess herself fills the plates, 
giving them to the maid to serve — or, if 
the budget doesn't permit a maid, she 
serves them herself. If the host is par- 
ticularly good at making coffee, let him 
make it at the table. Or he can make 
the salad dressing — or the hostess can 
mix the salad at the table. 

If you live in a locality where the 
climate permits outdoor grills, try char- 
coal-broiling steaks or roasting ham- 
burgers while the guests look on. Let 
them cluster around the grill. A fire is 
warm and hospitable-looking, so use it 
to best advantage. 

Be sure you seat your guests. Even if 
there are but six in your party, seat 
them. Nothing is so annoying as a mad 
scramble for chairs and a place at the 
table. I suppose that's why I have such 
an aversion to buffet suppers. 

First of all, I find myself loaded down 
with plates and cups and a water tum- 
bler. Then I sit down at a rickety card 
table (never use card tables if you can 
possibly avoid them, they're so unstable 
and not the right height for eating any- 

way), get nicely comfortable, discover 
I've forgotten the sugar for my coffee. 
I make the trip back to the buffet. My 
water glass needs filling — so back again. 
And by the time I've finally gone back 
for my dessert, I'm so weary I almost 
wish I hadn't come. 

There is one place where buffet is 
exactly right, however, and that's in 
your garden or around your badminton 
or tennis court. Then make it really an 
outdoor affair. Have the host don a high 
white starched cap and let him serve 
the guests. Make the buffet table inter- 
esting. Have a tall frosted pitcher with 
a fruit punch stuck with cool green mint. 
Freeze flowers or fruit into an ice mold. 
Have big bowls of salt into which your 
guests can dab crisp carrots, spring 
onions and radishes. 

One time we transformed our swim- 
ming pool into a woodland pond for an 
outdoor party. The garden hose was the 
basis for a fountain and old, worn-out 
automobile tires became floating islands 
of ferns and water lilies. 

DECORATIONS for your party needn't 
be expensive, whether for an indoor 
or outdoor affair, but they should be 
interesting and — in the modern trend — 
functional. For instance, I never use tall 
centerpieces of flowers on my tables for 
the practical reason that you can't see 
over them. Either use flat troughs with 
flat flowers, like water lilies, or arrange 
for the flowers to be tall enough that 
they are above the heads of your seated 
guests. The same rule goes for candles. 
I have some candle holders which I made 
by mounting glass inkwells upon each 
other. I arrange them in small groups 


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/IABCH, 1942 77 

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to form a Z and then use the tallest 
candles I can buy. Consequently the 
table is well lighted, but the flicker of 
the candle is well above the heads of 
my guests. 

Use glass for table decorations. It's 
inexpensive and very decorative. 

n EMEMBER that "It is not the quantity 
** of the meat, but the cheerfulness of 
the guests which makes the feast." 

As far as gathering together those 
"cheerful" guests in Hollywood, it's an 
easy matter, for there are several dis- 
tinct social groups in the film colony 
and in small, intimate parties Hollywood 
people stick to their own group. 

You will find, for instance, Mrs. Jack 
Warner, Marlene Dietrich, Lili Damita 
and Dolores del Rio always together. 
They forin a glamorous picture, each as 
beautiful as the other, and each a dif- 
ferent type. They are sophisticated, 
soignee, extremely chic. Another group 
includes the Darryl Zanucks, William 
Goetzs, Mervyn LeRoys, David Selznicks, 
Norma Shearer, Merle Oberon, Joseph 
Schenck, Samuel Goldwyns, Sid Grau- 
man, Claudette Colbert, Countess di 
Frasso, Joan and Connie Bennett. Then 
we have the Eddie Robinson, Melvyn 
Douglas, Harry Lachman, Jesse Lasky set. 

At the Ernst Lubitsches you will find 
the foreign, cosmopolitan element. The 
Lubitsches always serve European food. 
Vivian Lubitsch, who is half English, half 
Russian, is one of the most intelligent 
and sophisticated women in Hollywood. 
At the Arthur Hornblows', Director Rou- 
ben Mamoulian, Margaret Sullavan and 
husband Leland Hayward, Ginger Rogers, 
Joan Crawford and writers who are ten- 
nis enthusiasts gather for small, informal 
parties. I have never seen Myrna Loy 
have more than eight people for dinner. 
Incidentally, Myrna is one of the most 
natural and unspoiled stars in the film 

Then, of course, there is the Ronald 
Colman group which includes the Charles 
Boyers, the William Powells, the Dick 
Barthelmesses, the Brian Ahernes, Cary 
Grant, the Nigel Bruces, Reginald Gardi- 
ner, Hedy Lamarr, the Douglas Fair- 
bankses, Jr. when Doug's in Hollywood. 

Of course, I have by no means made 
a complete list. I have merely jotted 
down a few names offhand. As for the 
Rathbones, we don't belong to any par- 
ticular set and go with all of them. 

Many stars keep themselves complete- 
ly out of the social whirl. From the 
moment Carole Lombard and Clark 

Gable met, they stopped giving or going ( 
to parties. We never see them. Nor do! 
we see Barbara Stanwyck and Robert! 
Taylor, or Frances Dee and Joel McCrea.; 
This group enjoys the outdoor life. 

D UT how can a young man and woman 
^ who are not in the Hollywood pro- 
fession and cannot claim to be distin- 
guished artists get into society in Ho. v- 
wood — or in any other town? 

Charm, wit, discretion, the ability to 
inspire and keep confidences, emoi. 
maturity, that feeling of kinship with 
fellowmen which distinguishes the ti 
superior and civilized person and 1- 
basis of friendship and of personal and| 
social morality — these make for s 
success in Hollywood as they do in 
own particular circle. 

If any young man is attractive, a good 
dancer, something of an expert at bi 
or tennis, he will probably be asked to 
parties in Hollywood or any other ti 

My favorite young man, when he's ir. 
Hollywood, is Douglas Fairbanks Jr 
very partial to him. He knows wl 
going on in the world, has a keen, v 
informed mind and I don't know of ar.v- 
body in Hollywood who can talk m t 
absorbingly about the issues and per- 
sonalities involved in the present b 
war. Doug Jr. would be a social sue 
anywhere. He never fails in those 
courtesies which make a young man pi p- 
ular with a hostess and with women in 

If I am entertaining a celebrated \vr:er 
or musician with a small intimate dinner 
party I always invite Greer Garsoi. 
cause she not only personifies 
glamour of Hollywood, but she can talk 
intelligently on almost any subject 
accomplishment, combined with her 
beauty and glamour, makes her a very 
desirable guest. 

The modern American girl can't afford 
to be ignorant. She must know some- 
thing about everything and be able tc 
carry on an intelligent conversation. If a 
girl is strikingly beautiful, gay, a good 
dancer, she will invariably, at a Jones 
Corners party, find an admiring swain. In 
Hollywood, she will probably attract the 
attention of producers or directors, who 
are always on the lookout for new faces 
at parties. If, plus physical attractiveness, 
dancing ability and charm, she has a 
serious side and is vitally interested in> 
the political and intellectual problems of! 
the day, Hollywood — and Jones Come 
— will like her. 

The End 

How to set a table 
that will set a 
party pace, per 
Mrs. Basil Rath- 
bone's plan: Use 
glass for table 
decorations; it's 
inexpensive. Make 
your centerpiece 
of glass inkwel Is 
piled one on the 
other, top them 
off with candles 

photoplay combined with movie mikhm 

The Girl 

with a Hundred 

(Continued from page 39) Her husband 
paid her a visit at Sherwood Forest, 
where the company was on location. 
"Listen, folks," she warned them all the 
night before. "This man who's coming 
tomorrow — he's not Mr. DeCamp. His 
name's John Shidler, please, and he's 
the boss." 

Rosemary DeCamp is her own name. 
Her ancestry is French. She never 
wanted to be anything but an actress. 
Her father, a mining engineer, said: "All 
right, but be a good one. Go to college 
first. By the time you get out, you'll 
be old enough to swim, not flounder." 
Born in Arizona, she was hauled from 
one mining camp to another in the 
States, in Mexico, in South America. 
This gave her childhood the advantage 
of a colorful background. All she missed 
out on was learning the alphabet prop- 
erly, so that today she has trouble look- 
ing up names in the phone book. It 
doesn't seem to have handicapped her 

Mrs. DeCamp, an accomplished pianist, 
longed to have Rosemary play some in- 
strument. She was tried on everything 
from cello to uke, but they had to give 
up. The poor child was tone-deaf. In 
view of which, it was curious that her 
ears should have been supersensitive to 
the inflections of speech. She loved lis- 
tening to people talk and could ape them 
with startling accuracy. So she was in 
great demand by the dramatic coaches at 
the scattered schools she did attend. Only 
at home and when she was acting did 
she lose her shyness. Mounting the plat- 
form to get her diploma, she turned white 
with terror. Yet in any character but 
her own, she could strut the same plat- 
form with the poise of a duchess. 

SHE went to Mills College because it 
had a good dramatic department and 
stayed five years — the extra one to get 
her master's in speech and psychology. 
She met John Shidler, a law student at 
Stanford, and saw quite a lot of him, 
though after graduation their ways 
parted. Meantime she'd become the dra- 
matic star of the campus, playing Shake- 
speare and Ibsen, getting classy notions 
about the theatah and her own function 
in it. But June was approaching and 
ishe wanted a job. Someone told her 
about radio, to which she never listened. 
After tuning in on a few programs, she 
idecided, h-m-m, if I couldn't do as well. 
;There was a program called "One Man's 
,JFamily," originating in San Francisco. 
That would serve till something else 
came along. 

They happened to be holding auditions 
the day she applied, gave her a type- 
written paper trumpeting the glories of 
Meredith Willson's chiffon jazz and left 
■her alone in a large silent room. From 
Isomewhere a disembodied voice boomed: 
■"Name and number," then: "Begin." She 
"gave all she had to Meredith Willson's 
chiffon jazz and wasn't impressed when 
a phone message next day told her the 
job was hers. To be earning money was,, 
sf course, wonderful. But a girl whose 
Mercutio had drawn notices from the 
3an Francisco papers couldn't be ex- 
oected to get het up over "One Man's 

When the Carmel stock company of- 
'ered her twenty-five a week for the 
summer, her financial problems were 
solved. Adding that to the radio check, 
;he'd be a rich woman. She betook her- 
;elf happily to Carmel, where she felt 
it home. She'd spent other summers 
here. It was one of those communal 

4 ARCH, 1942 

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groups and you did whatever came to 
hand — lighting, scene-painting, truck- 
driving. Wednesdays she reserved for 
radio. So when a wire came summoning 
her to a Tuesday rehearsal, she wired 
back blithely that she couldn't possibly 
make it Tuesday but would be there 
Wednesday as usual. On Wednesday no- 
body spoke to her. She was never 
called back. She tried frantically but 
in vain to discover why, till somebody 
pointed out that even campus queens 
don't stand up radio rehearsals and that 
"One Man's Family" could hobble along 
without her. This gave Rosemary a more 
accurate perspective on herself in the 
entertainment world. 

A brief stay with the Pasadena Play- 
house benefited her art but not her 
pocketbook. Then she toured with "The 
Drunkard." They went broke in South 
Bend and Rosemary traveled on to New 
York. Her father knew Sam Harris, who 
gave her a job at sixteen per as an extra 
in "Merrily We Roll Along." It was by 
competitive strength, however, that she 
won a bit part over forty-five other ex- 
tras, all clawing for the same bit. When 
the show closed, Harris gave her letters 
to people who said yes, yes, nothing 
right now. It was a bad winter. She 
lived on money from home and on friends 
with whom she could bunk. Finally she 
got a small part in a radio serial. It 
was no "One Man's Family." She'd often 
look back in awe at the height she had 
once attained. 

It turned out, though, that radio needed 
Rosemary. While jobless, she hadn't been 
idle. She'd opened her ears to New 
Yorkese — haunted docks and pubs, lis- 
tened to cops and stevedores and shop- 
girls, learned how people talked on Fifth 
Avenue and Sixth and Park, in Hell's 
Kitchen and Brooklyn and the Bronx. 
When they needed a dialect or accent, 
a Chinese or Eskimo, they'd send for 
Rosemary. She waxed busy and fairly 
prosperous. Then her mother and Dema 
Harshbarger lured her to the Coast. 

The family had settled in California. 
Miss Harshbarger, head of NBC Artists' 
Service and an admirer of Rosemary's 
work, was eager to handle her for the 
screen. Mrs. DeCamp yearned to have 
her daughter at home. So Rosemary 
went. The studios failed to catch Miss 
Harshbarger's enthusiasm. What de- 
pressed Rosemary was the way they'd 
look at her and instantly say no. 

"I've got a funny nose and I'm not 
very impressive-looking, but I used to 
wonder how they could decide by a 
glance at my face that I couldn't act." 

I— I ER failure to get the part of Judy 
' ' Price in "Dr. Christian" hurt most. 
They did test her for that. She'd played 
it on the air for three years and had had 
her share in making the program a suc- 
cess. Before the test, she kept reassur- 
ing herself that while she might not look 
good, she'd sound good and they'd all 
say what a beautiful voice she had. But 
the girl she played opposite had been told 
to project and yelled so loud as to drown 

Rosemary out. Kind souls went out of 
their way to tell her they'd seen the pic- 
ture. "You weren't in it, were you?" 

"No," said Rosemary. 

Martha Scott was her friend. When 
Martha left radio, she turned her serial. 
"The Career Of Alice Blair," over to Rose- 
mary. When she started "Cheers For 
Miss Bishop," she insisted that Rosemary 
try for the part of the German girl. 

"Forget it," said Rosemary. "You've 
done enough." 

But Martha talked the producer, Rich- 
ard Rowland, into seeing Rosemary. He 
looked at her and said no. But at least 
he explained why. "We want a broad, 
blonde, stupid-looking face — " 

"She can look any way you want her 
to," Martha said. "Let her read for you." 

This was on the set. Rowland was 
called away. Through Rosemary's head 
floated memories of stories she'd read; at 
the crucial point the girl always did 
something dramatic. She'd do something 
dramatic, though it went against the 
grain. Theatricality is not her strong 
point. Feeling ashamed of herself, she 
leaned over Rowland's chair and, before 
he could rise, in a vaguely European ac- 
cent recited the Declaration of Inde- 
pendence^ — the high spot of the foreign 
girl's role. He sat still till she'd finished 
then turned to look at her. "That's bet- 
ter," he said. 

"Better than what?" she asked. "My 

That was when they rigged her up and 
tested her. Next day they gave her the 
part and Martha was mad because she 
didn't hold out for more money. If she 
hadn't had guardians, she'd probably 
have done it for nothing. In any case, 
it did the trick for her. They applauded 
her rushes in the projection room. No 
music is sweeter to an actor's ears than 
applause from the hardened watchers of 
daily rushes. Hollywood critics voted 
hers the best character performance of 
the month. Harry Tattleman, her agent 
and a rabid DeCamp fan. rolled up his 
sleeves and surveyed the field for a role 
worthy of his client. 

HE found it in the refugee mother of 
"Hold Back The Dawn." Mitch Lei- 
sen was the first director who looked at 
Rosemary and didn't say no. He sent her 
to Arthur Hornblow, the producer. "And 
by the way — use an accent. Mr. Horn- 
blow has imagination, but we might as 
well help it along." 

So she played Mr. Hornblow a trick, 
of which she's also ashamed. "Yes, yes." 
he agreed after a few whiffs of accent. 
"Send her to wardrobe." 

She refused to repeat the performance 
for Zoltan Korda. Awed by the very 
name, she prepared for her interview in 
a dither. "Of course you can't say you're 
an Indian, but a little dialect—?" Tattle 
man coaxed. 

"This time," she said, "I'm coming 

She did try to make herself look as she 
thought Sabu's mother ought to look- 
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brows. The plucking proved a mistake. 
"I hate Hollywood eyebrows," said Zoltan 
coldly. "But — " he looked again " — we 
make a test." 

Several players had been lined up for 
tests. After running Rosemary's, Korda 
called the others off. "This is the girl I 
want. There is something in the eyes — 
a depth, a sorrow." To her he said: "I 
think it's good. Don't you think it's 

"Oh, Mr. Korda — " said Rosemary. 

"All right. What shall we do about 
your hair?" 

"I could dye it." 

"Why didn't you let me say it first?" 

SHE wondered what her husband-to-be, 
having courted a blonde, would say 
to a brunette and decided not to tell him 
till after the honeymoon. (He took it 
nicely.) For, about a year earlier, John 
Shidler had heard a voice on the radio 
that stirred old memories and had called 
Rosemary up. He was a practicing at- 
torney now and the youngest judge in 
California. They were married just after 
she signed her contract with Korda. 

They live in the big old family house 
at Torrance, turned over to them by 
John's mother as a w r edding gift. The 
cook runs the house, to the grateful 
relief of its mistress. "John's grateful 
too," she mentions in passing. Neither 
John nor the cook complains if she 
doesn't get home till eight for dinner. 
They're both proud of an actress in the 
family. They both tune in to listen to her 
regular broadcasts on "I Was There" and 
the Vallee program. 

Judge Shidler has a passion for bad- 
minton, so they play it religiously every 
Sunday. He mows the lawn without 
passion and thinks of putting in diction - 
dra, which you don't have to cut more 
than twice a year. Rosemary enjoys the 
surprise element in gardening. When she 
plants stock, they come up snapdragons. 
He likes to read aloud to her, so she 
lets him. Neither can tell a Bach con- 
certo from Gershwin, but they go to Bowl 
concerts occasionally because they think 
it's nice to sit under the stars. Lots of 
movie folk don't give a darn about music. 
She's the first on record to say so. 

She knows few picture people and so 
guests are mostly friends of her husband. 
Theoretically, he doesn't care for pets, 
but she brought home a black kitten 
born on location, named Baggy after 
Bagheera, the panther in the picture. 
Baggy wooed the judge into submission 
by climbing up his pants leg and snug- 
gling into his neck. Now they both see 
Rosemary off in the morning. "Drive 
carefully," says her husband. When he 
forgets, she meditates the advisability of 
crashing a pole, just to show him. 

Her father has been somewhat bewil- 
dered by her screen appearances to date. 
"I didn't realize you looked like that," he 
says anxiously. Her mother wants her 
to play glamorous roles in glamorous 
clothes. Her young brother's content 
"because the kids at school think you're 
okay, Sis." Her husband says all the 
right ) things at the right time. 

He's not a movie fan, though. Rosemary 
thinks she ought to see lots of pictures 
for the sake of her work. John confines 
his attendance to the few. 

"Let's go to a movie tonight," says 

"Let's play badminton," says John. 
' She can't quite explain what happens. 
"It just turns out that we arrive at the 
Badminton Club. . . ." 

That's Rosemary DeCamp, a girl of 
growing importance to the movies. The 
movies are awfully important to her too. 
Only a judge is more so. 
The End 

MAKCH, 1942 

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(Continued jrom page 53) ration card 
and identity papers both bore his name 
and by this time the name of Clive Briggs 
must have been posted everywhere as a 

A day of walking — hiding— walking. 
Hunger that at first was a twisting cork- 
screw of pain, until it settled down to a 
numb sickness that made the thought of 
food intolerable. Weariness that put a 
dreamlike haze over every minute. He 
began to hate himself because he was 
hunted. Whenever he hid at the sight 
of a uniform he wanted to stand up and 
shout, "Here I am! Take me — arrest me!" 

C OR a while he thought Prue was welk- 
in ing beside him and he talked to her in 
disconnected, half-formed sentences. 

"You said — England — worth fighting 
for if I'd look into my heart instead of 
my mind. But how can I fight for some- 
thing I don't believe in? Not a ques- 
tion of courage. I'm not afraid, I'm just 
tired. . . ." 

He'd fought on the beach at Dunkirk — 
carrying wounded men out to the boats, 
straight through all that hell of bursting 
bombs and screaming bullets — carrying 
them out and then going back for more. 
They'd given him a medal for "gallantry 
in action." But what was the use? What 
was the real use? 

Then, quite suddenly, his brain cleared 
and he knew what he wanted to do. 

At a crossroads there was a tiny, un- 
prosperous- looking store and he took a 
chance on letting the man there see his 
ration card to buy some tea and biscuits. 
While he ate, he put in a long-distance 
telephone call to Prue at the WAAF camp 
in Gosley. Her leave should be over by 
now, she should be back there. . . . 

After interminable delays and a quarrel 
with the operator at Gosley, he heard her 
voice, faraway yet so clear, so sweet, so 
... so Prue. 


"Prudence!" was all he could say at 
first. "Oh, Prudence!" 

"Is that you, darling? Are you ill?" 

"No — no — it's just — " 

"Darling, what are you doing? I've 
been so worried. Where are you?" 

"I don't know. It's Clevedon Hill or 
something — just a crossroads. Prue — 
I must see you. I — I know what I'm 
going to do now and I must see you be- 
cause I'm — I'm going to give myself up. 
Now, listen — " 

"Clive! Don't do anything — please 
don't do anything before you see me." 

"No. Oh, Prue — you're so beautiful 
and I love you so much." He heard her 
catch her breath at the other end of the 
wire. "You do believe me, don't you?" 

"Yes," she said, "I believe you, be- 
cause . . . because you never said you 
loved me before." 

"Prue, dearest, I didn't know then, but 
I know now. It's so clear suddenly. Prue. 
do you think you could get leave? I want 
you to marry me." 

"But — but there are licenses — and banns 
— and all sorts of things!" 

"Not in wartime — if you know the 
way," he urged. "There must be a way." 

She thought a moment. "Maybe my 
father could help. He knows — oh, people 
in the offices, and so on." 

"Where is he?" 

"In London." 

"Can you get to London?" 

"Yes. I think so. I'll leave tomorrow 
and catch the evening train. But how 
will you get there?" 

"I'll get there somehow — some way. 
Don't worry. I'll meet you tomorrow 


"I'll be at Charing Cross Station," she 
promised, "at half-past nine — under the 
big clock." 

"I'll be waiting there." 

He heard a sound, halfway between a 
laugh and a sob. "Oh, Clive — darling— 
this is crazy! But do you know how I 
feel? Like — like a kid, the first time I 
was taken to the theater — when the cur- 
tain went up — " 

"Prue! For me it's like — like having 
walked all your life in darkness and dirt, 
and suddenly breaking through a mis:. 
and seeing a great sunlit valley ahead." 

"Tomorrow night, dearest. Please be 
there. I think I'd die if you weren't." 

"I will. Good-by!" 

He left the little store feeling confident 
and sure. Nothing could hurt him now. 
He'd get to London somehow — it wasr. i 
very far. People would give him rides 
and military police wouldn't happen to 
want to see his papers and he'd be under 
the clock in Charing Cross Station at 
half-past nine — all because he jelt his 
luck inside him. 

I N actual fact, he did reach London by 
* the next morning and was picked up 
by the military police at Streatham Hill. 
shortly after ten o'clock. 

"But I was coming to give myself up!" 
he pleaded to the impassive Sergeant at 
headquarters. "Won't you believe me? 
I swear I was! But I wanted just one 
evening first — this evening — " 

The Sergeant, neither friendly nor hos- 
tile, simply impersonal, went on asking 
questions about his movements of the 
last few days, as if he had not heard 
Clive's appeal. 

"May I see the officer in charge here. 
Sergeant? It's terribly important! I beg 
of you — please!" 

Something in his anguished voice 
pierced the Sergeant's official armor. He 
looked at Clive curiously, piercingly— 
and seemed to be satisfied with what he 
saw, because without a word he got up 
and went into an inner office. A few mo- 
ments later Clive was standing across 
from the desk of the Major in charge 
and his heart sank. Here, in one man, 
was everything that he hated, every rea- 
son he had for deserting the army. The 
Major's imperious features, too finely 
bred and cold, his stiff body, the clipped 
and unsympathetic "Yes?" with which he 
greeted Clive — all these were the embodi- 
ment of the old England that had brought 
the war into being, the England of class 
and privilege. 

"I — hardly know how to begin, sir." 
Clive said, already feeling the futility of 
kindling a spark of humanity in those 
steely eyes. "I've come to ask you a 
favor and I know I have no right to ask 
it. I had an appointment to meet some- 
one this evening. I want you to believe 
me, sir, when I say that it means more ' 
to me than I can possibly explain." 

"What are you here for?" The Major's \ 
eyes went to a report sheet on his desk 
and he answered himself. "Desertion. I 
see. And in this deposition you state i 
that you had come to the decision to sur- \ 

"Yes, sir. Immediately after I had kept i 
my appointment." 

"I take it you are genuinely sorry and 
intend to repair your crime by serving | 
faithfully in the future?" 

"I have no intention of serving as a j 
soldier again, sir." i ' 

The Major was shocked. "What's, 
that? ... Oh, I see — a conscientious ob- 
jector'.'" ! 

"No, sir. I've always wanted to fight j 
for my country, but I found there are too 

photoplay combined with movie mirror , 

many people in my way. I'm ready to 
take whatever consequences there may 
be, but — will you trust me, sir? I give 
you my word of honor I shall be back 
here by midnight." 

The Major sat quietly for a moment, 
studying Clive. He touched a bell and 
the Sergeant entered. "Sergeant, I'm 
giving this man leave until twelve o'clock. 
This is my personal responsibility." 

The Sergeant motioned Clive to follow 
him out of the room. Clive turned, as- 
tonished, wanting to thank the Major. 
But he could say nothing to that sternly 
military iron mask. 

THE afternoon and evening seemed end- 
less, although he occupied himself with 
getting something to eat, a bath and a 
shave. Six o'clock — seven o'clock — eight 
o'clock. The air-raid warning sounded 
and suddenly the sky over London was 
filled with bursting anti-aircraft fire. 
Clive, hurrying through the streets, 
cursed himself because he had not gone 
earlier to Charing Cross. Bombs fell to 
the north of him, the march of their 
thunderous footsteps coming closer. Then 
a new noise, louder and more terrifying 
than that of the bombs, rose into a de- 
spairing banshee screech. Out of the 
sky came a tremendous bombing plane, 
hurtling to earth. It plowed into the row 
of buildings across the street from where 
Clive stood, shielding his face from flames 
and flying debris. 

People came running out of the 
wrecked and burning buildings. One lit- 
tle man whose clothes were smouldering 
did not come across the street but oc- 
cupied himself by scratching at a mass 
of shattered tile and rubble at the foot of 
the building. Clive knelt beside him and 
the little man threw him an anguished 
look. "My wife — my kid! They're in the 
cellar!"— all the time digging in the rub- 
bish, paying no attention to the sparks 
in his clothes and hair. 

A steel-helmeted policeman came up. 
"His wife and kid are down there," Clive 
explained and the bobby with profes- 
sional calm flashed his torch downward, 
revealing a small cellar window, only 
half blocked by debris but covered by a 
twisted iron grating. "Grab hold of it, 
chum," the bobby said. "See if we can 
move it." 

But the demented little man had slipped 
away and was nowhere to be seen. Be- 
tween them, Clive and the bobby man- 
aged to tear the grating out. "Stand by 
to lend a hand," the bobby said. "I might 
just get through — you're too big." He 
scrambled feet first through the opening. 
Clive, glancing up, saw the wrecked wall 
of the building tottering above him, a 
frail skeleton. The heat from the fire 
was almost suffocating. 

"Here," the bobby was saying. "I 
found her — way at the back. Take the 

Clive bent to pick a screaming baby 
from the bobby's outstretched arms, took 
it across the street to some dazed onlook- 
ers and returned. The bobby had car- 
ried the woman to the window and was 
lifting her up. Clive put his hands under 
her arms and heaved, the bobby scram- 
bling after. 

Someone across the street screamed. 
"Look out! The wall!" 

Clive heard the cry and the roar of 
falling masonry above him, but after 
that he heard nothing at all. 

D RUE had waited at Charing Cross until 
' after ten, knowing all the time with a 
sick empty feeling that if he was not 
there at nine-thirty he would not be 
there at all. Then she had gone to her 
father's office in Harley Street. He was 
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government and he would be able to 
check the hospitals. Of course she had to 
confess about meeting Clive and going 
away with him to Leaford, but somehow 
that didn't seem important now; and any- 
way her father wasn't like the rest of the 
Cathaways. He would understand and 
not tell her she had been wicked, but 
do his best to find Clive. 

"Perhaps he changed his mind," her 
father had said when she told him. Prue 
had almost wished he might be right, 
but she knew that whatever else had 
happened, Clive had not simply changed 
his mind. 

Now she sat beside Clive's hospital bed. 
It was in a big ward, but screens had been 
placed around it to make a small, private 
place. It was the afternoon of the day 
after the raid in which he had been in- 
jured. He opened his eyes, saw her, and 

"Hello." His voice was stronger than 
she had expected; but then, Dr. Cathaway 
had told her he would be quite normal 
when he wakened. 


"How did we get here?" 

"There was an air raid and you were 
hurt — " 

"Yes, I know." He moved his bandaged 
head a very little. "I mean — how long 
have I been here?" 

"Since last night." 

"Last night . . . But Prue, I promised 
to go back — the Military Police. . . ." 

"Don't worry," she told him. "It's all 
been done — everything's all right." 

All right! she thought. How could any- 
thing be all right when he had been so 
terribly hurt? It was his head; they'd 
operated the night before, but even her 
father could give her no more hope than 
to say, "I don't know, Prue. There's a 
chance, but only a chance." 

"I must look an awful mess," Clive 

"You look fine, darling." 

"I feel fine. I feel clearheaded — better 
than I have for months." He reached for 
her hand, held it tightly. "Prue — you 
know, a strange thing happened yester- 
day when that Major gave me leave to 
meet you. As I stood waiting for his de- 
cision, I seemed to be two men, strug- 
gling against each other. One was hoping 
desperately to be given his freedom, and 
yet the other, deep down inside him, was 
half hoping that his request would be 
refused — so that all the things he had 

made himself believe would be justified." 

"Please rest now, darling." 

"No, let me finish . . . Then again, when 
I was hurrying along the street to meet 
you and saw those people trapped in the 
ruins, reason shouted at me that it was 
none of my business — that other men 
would do the rescue work — but some- 
thing just forced me to stop. We have 
trusted our minds too much ... I sup- 
pose . . . and our hearts not enough.'' 

The nurse came around the corner cf 
the screen. "You must go now, Miss 

"Prue! — You'll come back?" 

"As soon as they'll let me." 

"Can we be married then — when you 
come back?" 

Prue said, forcing the words through a 
suddenly constricted throat, "Yes, dear. 
If you want to be." 

"I do want it. Very much." 

SO they were married, there in the 
little screened-off section of the hos- 
pital ward, as darkness came down over 
the great, tortured city. Afterwards, the 
nurse and the doctor went away and left 
them alone for a little while. The Captain 
of Clive's company had sent him a vol- 
ume of Shakespeare and until the night's 
air raid began she read to him from it: 

"This above all: to thine own self be true 
And it must follow, as the night the day. 
Thou canst not then be false to any mar.. 
Farewell: my blessing season this in 


The long, wailing note of the air-raid 
siren came faintly into the hospital and 
Clive smiled. "They don't leave us alone, 
do they?" 

"I feel safe with you, Clive. Remember 
— that night in Leaford?" 

"Yes. But you mustn't stay here. I 
won't have you here." 

There was a note of command in his 
voice. All around them, nurses were busy 
wheeling beds out of the ward to put 
them on elevators which would take them 
to the shelter underground. 

"You'll go down where it's safe, won't 
you?" he asked. 

"Yes, Clive. Yes. As soon as the planes 
come close. You'll tell me when they're 

"I'll . . . tell you." He seemed satisfied 
and his eyes closed tiredly. He was un- 
conscious when Dr. Cathaway came. 

She represented 
everything he'd 
grown to hate — 
the aristocratic, 
finely bred Prue- 
dence. Yet Clive 
was drawn to her 
as he never had 
been to any other 
woman in his life 

photoplay combined with movie mirror 

"Go down and get some rest in the 
shelter," Cathaway said, but Prue shook 
her head. 

"I've stayed this long — I want to stay 
on, now." 

"But you can't help him, Prue, by 
staying here. It would be just the same 
if you went down to the shelter." 

Prue raised tormented eyes to his face. 
"You can't let anyone die alone — -even if 

«they don't know." 
"Why are you giving up so easily?" 
Dr. Cathaway laid a hand on her shoul- 
der. "I've told you there is still a chance. 
I mean that, honestly — but there's noth- 
ing we can do now except wait." 

"Please let me stay." 

The doctor hesitated. The noise of the 
raid was louder. But he leaned over and 
kissed her and went away. 

The raid lasted until dawn — a watery, 
smoky dawn. The All Clear was sounding 
when Prue came down the steps of the 
hospital and walked through the pitiful 
aftermath of a major raid. Bowed figures 
searched among the ruins, some listlessly, 
some frantically. Glass crunched under 
foot and the weak light was reflected 
back from the surfaces of charcoal - 
stained puddles of water. 

Prue moved on, almost without the 
sense of direction. She was so tired she 
could scarcely feel the ground she walked 
on. At a place where a fire in a ware- 
house had just been extinguished, a little 
fireman like a grimy Cockney gnome held 
up his hand to stop her. 

"Just a minute, miss, while they let 
them hose pipes down." 

She waited obediently and the fireman 
chattered: "You oughter 'ave seen that 
place go up! Candle factory — full o' 
grease. Biggest blaze I ever see. Look at 
them boys on the ladders — they can stick 

He glanced at Prue then and saw for 
the first time that she was crying. He 
said in quick sympathy: 

"Sorry, miss. Is it someone of your 

"My — husband." 

"Where is he?" 
street from which she had come. 


"Is it bad? What did the doctors say?" 

"They say there's just a chance. But 
that's what they always say." 

"Well now, ma'am," he said cheerily, 
"you mustn't get downhearted. Few 
months ago they were saying the same 
thing about this country of ours. Yes! 
Three months ago, people was going 
around burying us! They said there wasn't 
no hope — that we might as well give up. 
Well, they don't say that no more!" 

He pointed, with a gesture so strong 
and gallant that she could not ignore it, 
at the firemen clinging to the frail lad- 
ders thrusting up into the air beside the 
smouldering building. 

"No matter how much they bomb us, 
it's getting better every day — because we 
can stick it! Yes! I tell you, ma'am, we're 
going to win this war because we can 
stick it — and then, God help us, we're 
going to win the peace, too. We're going 
to see a better England when this is over 
because — well, because most of us didn't 
give up. So don't you give up either, 
ma'am. Everything's going to be all right." 

The big hose pipes had been drawn 
across the road and the fireman stepped 
back, briskly motioning her on. "Now, 
ma'am, you can go ahead." 

Prue walked past him, down the nar- 
row, littered street. The light was grow- 
ing stronger. She lifted her head and the 
tears dried on her cheeks. She would 
rest a while and then she would go back 
to the hospital. 

The End 

MARCH, 1942 

He glanced up the 


m blue 

like today, for 

Even this portable doesn't help. I've played 
stacks of old favorites, new swings and late 
boogie-woogies and still the glooms hang on! 

So I ask you . . . what's a girl to do? Go out 
wearing a face full of frowns? Try to grin from 
ear to ear? Or call things off and stay home? 

What I can't figure is how those pals of mine 
manage to keep going — no matter what 
day of the month it is. 

What have others got that I haven't 

They must have something . . . and I'm the gal 
who's going to find out! How? . . . well, I'll 
hide my pride and ask 'em. Want to listen in?. . . 

Jane called it comfort ! The kind Kotex 
sanitary napkins give. 

She explained that Kotex is different from 
pads that only " feel " soft at first touch. 
For Kotex is made in soft folds that are 
less bulky — more comfortable — made to 
stay soft while wearing ! 

And, oh, "what a pal was Carrie! She put it thia 
way . . . for confidence and poise there's 
nothing like the flat, pressed ends of 
Kotex. They don't show even when you go 
without a girdle! 

Nancy simply said . . . Safety first! 
And thank heavens for Kotex with the 
moisture-resistant "safety shield" that 
gives extra protection! 

So now I'm singing "So-long Blues!" Now I 
know why more women choose Kotex than all other 
brands put together! The best proof that Kotex 
stays soft! 



l^ /TIPS FOR 'T 

. t/J^ I Dos and Don't's 
|/1» X (P< a girl's intimate < 

E E N S ! Send today for this handbook of 

'As One Girl To Another." It answers 

girt s intimate questions . . . tells all about "difficult days." 

Mail your name and address to P. 0. Box 3434, DepL MW-3, 

Chicago, Illinois, and get a copy postpaid and FREE! 

(• M.rk Reg. U. S. P«l. Off.) 



My Own Super-Superlative Awards for 1941 

(Continued from page 43) 

^ £/ied£6fiwued/ 

Today, Greyhound and the motor bus industry 
are actively in the war, carrying thousands of 
selectees to military centers— other thousands of 
soldiers in vital military movements. 
To the fighting forces, Greyhound's nation- 
wide service makes possible reunions with 
relatives, sweethearts and friends, whenever 
leaves and furloughs can be granted. 
To the civilian army, motor bus travel is a 
vital necessity. It gets defense workers to jobs 
—farmers to markets— teachers and students to 
school— people of every occupation to jobs and 
homes in communities served by no other pub- 
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55,000 motor buses has a new destination 
sign . . . Victory for the U. S. A.! 

Mail to Nearest of these Greyhound Offices: 



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nearest Greyhound Information Office, listed above. 




Stingiest woman: 

My business manager. (My allowance 
is twenty-five a week, when I get it!) 

Most respected man in Hollywood (and 

Jean Hersholt, because he's president 
of the Motion Picture Relief Fund and 
he's worked tirelessly, not for glory, not 
for publicity, but for the betterment of 
his fellow actors. He's done more and 
gotten less credit for it than any other 
single man in Hollywood. 

Best performers in 1941 (male and 

Gary Cooper in "Sergeant York" — and 
Bette Davis in "The Little Foxes." 

Most overrated performance in 1941: 

Spencer Tracy in "Doctor Jekyll And 
Mr. Hyde." 

Best dressed man in 1941: 

Fred Astaire. 

Thinks he is: 

Basil Rathbone. 

Best dressed woman in 1941: 

Loretta Young. 

Thinks she is: 

Norma Shearer. 

(But don't we all?) 

Most likely to remain a bachelor in 1942: 

Cary Grant, thank heaven — and I hope 
he remains that way! 

Most likely to remain a spinster in 1942: 

Marjorie Main. 


Madeleine Carroll. 

Most likely to be married (male and 

The young fry have been marrying so 
fast it wouldn't surprise me if Virginia 
Weidler and little Carolyn Lee got ideas. 
And among the men, George Montgom- 
ery, Bob Stack — in fact, if there's one 
who hasn't been snaffled up by the end 
of 1942, it'll be 'cause Uncle Sam's got 
him and he'll be out of reach. 

Biggest bluff: 

Melvyn Douglas. 

Best picture of the year: 

"How Green Was My Valley." 

Worst picture of the year: 

"Two-Faced Woman." 

Most desirable bachelor in 1941: 

Bobbie Stack. 

Most desirable bachelor girl: 

Ginger Rogers. 

Best sense of humor: 

Jack Barrymore, because he points it 
at himself instead of others. By his own 
sardonic wit, he's been the butt of every 
joke this past year. 

Think they have best sense of humor: 

Edna May Oliver and Mary Boland 
—but how right they are and the public 
knows it, too. 

Worst break from Hollywood in 1941 
(among the women): 

Marlene Dietrich, but it was only her 
ankle; outside of that she's done all right. 


Worst real break was given to Ann Sher- 
idan because she was kept off the screen 
for a year. 

Worst break among Hollywood males in 

By all odds, Eddie Albert. 

Most talented off screen